Film: 21st Century Literacy - A strategy for film education across the UK
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A strategy for film education across the UK
“When I first saw ‘The Wizard of Oz’ it made a writer out of me.”
Salman Rushdie
Foreword
From the Chairs of BFI, Film Club, Film Education, First Light Movies,
UK Film Council and Skillset
We live in a world of moving images. To participate fully in our
society and its culture means to be as confident in the use and
understanding of moving images as of the printed word. Both are
essential aspects of literacy in the twenty-first century.
In the same way that we take for granted that society has a
responsibility to help children to read and write – to u
se and enjoy
words – we should take it for granted that we help children and young
people to use, enjoy and understand moving images; not just to be
technically capable but to be culturally literate too.
Britain already has what are probably some of the best film education
initiatives in the world. However, for most young people, if they
experience film education at all it is as isolated episodes that lack
coherence and consistency. We want to move film education on from being
a series of disconnected experiences to becoming an integral part of
every young
person’s life – a systematic process in which confidence and articulacy
grow by having the opportunity to se
e a wide range of films, to gain a
critical understanding of film and to enjoy the creative activity of
filmmaking. The strategy set out in this document is a first step on
the road.
We want to build a wide and growing partnership with others, working
formally within the education system and informally outside it; linking
with the film industry and other cultural partners. Initially we have
young people as our focus but with a longer-term ambition to reach
anyone and everyone. We want a society where a dynamic film and moving
image culture is part of every citizen’s enjoyment. We won’t achieve
that in five years or ten years, but if we start now, we may do it in
a
generation.
What is film education?
Film education is making film more accessible to children and young
people for their enjoyment, as a means of understanding the world and
as a medium of self-expression.
Film education:
Provides children and young people with opportunities to watch a wide
range of film - in cinemas, schools and elsewhere, using new
technologies and platforms;
Encourages learning, critical understanding, debate and conversation
about films and the issues and emotions they raise;
Enables children and young people to use film as a vehicle for their
own creativity, and encourages the film industry to
respect their voices.
What children=2
0and young people and their teachers say about film
education:
“Teachers have seen how, starting with film, all children regardless of
ability, have been able to discuss narrative
in a sophisticated manner. The use of film has allowed children to
learn using a medium with which they feel comfortable and able to take
risks. This allows for higher order thinking to take place which is
then transferable,
as well as giving them the tools to understand the media-rich world
around them.”
Literacy Adviser, West Midlands
“Patience – you need a lot of patience! You need leader-ship skills too
because if you’re directing you’ve got to tell people what to do8
0
you’ve got to be able to take directions as well, and criticism, that’s
an important one."
Teenager working on their own film
“An amazing piece of work, magnificently directed, by
far the best drama that I have seen in some time. The shockingly
violent scenes force you to wonder how mankind can act as such savages;
killing each other due to mere identity and belief. Are we humans
really so great when there are still such atrocities occurring in
today's world?”
15 year-old student on Hotel Rwanda
“This film is very sad in crying terms because even though it is
animated, when a rabbit dies or is killed or even wounded it is so real
=0
Ayou feel like it’s real life. This can teach us a lot about life in
this world, both nice and nasty.”
10 year-old pupil on Watership Down
“I usually do not like films where you have to read subtitles. However
I think Tsotsi changed my mind completely. After a while I forgot I was
reading the subtitles and got hooked in the story. It was moving,
watching how people in the third world lived. I thought the acting and
the scenery was good, and the film got me intrigued. A good film.”
15 year-old student
“I’ve gained enormously from the opportunities to refresh my thinking
on ways in which we can use technology to create visual meaning.”
Teacher, after a Continuing Professional Development (CPD) session
“This sort of thing doesn’t really happen to our sort, if you know what
I mean, foster children, ‘cause they’re kind of, not put down but
sometimes not given a chance and it’s nice just to have this
opportunity to sort of... it’s just amazing.”
Young award winning filmmaker
“These screenings give our students a chance to identify vicariously
with people that they might never sympathise with otherwise.”
Head of Film Studies Department on the importance of cinema screenings
for students
Introduction
Film inspires, excites, informs and moves. It has often
been described
as the great art form of the twentieth century;
and it has certainly been one of the most popular.
Film is an essential and much-loved part of the UK’s cultural heritage
and one of the most widely enjoyed and accessible forms of
entertainment and artistic expression in almost every country of the
world. Part of its power lies in the way it has interacted with and
driven the creative evolution of other long-established art forms
including storytelling, music and the visual arts. It has extended its
reach from the conventional cinema screen to a myriad of different
platforms yet, whatever the technology, the end product remains the
same – stories told using
sound and light that move across a screen.
What is remarkable is that, despite these changes, cinema is still a
central driving force and cinema stars command global recognition as
never before. But the significance of audio-visual media is changing
profoundly; it has grown from being a vehicle for art and entertainment
to become a core part of how we communicate and do business. We live in
an age when to be literate means to be as familiar with images on a
screen as with text on a page and to be as confident with a camera or a
keyboard as with a pen. Literacy in the moving image has become an
integral part of a wider literacy for the twenty-first century;
children and
young people need both to participate fully in society.
All this is widely acknowledged and yet media literacy and, more
particularly, film education are still on the margins of national and
international policy agendas. By ‘film education’ we mean providing
children and young people with a structured, systematic oppor-tunity to
watch films, to understand films and even to make films as part of
their overall preparation for adult life. In the UK we are lucky enough
to have some of the best and most imaginative film education
initiatives in the world, as well as a Charter for Media Literacy,
drawn up by the UK Film Council and the main broad-casters, which has
been adopted 20by government and is already being used as the template
for action at a European level. However despite this leadership
position, film education in the UK remains disconnected and
inconsistent – a bonus for some lucky children and young people rather
than an opportunity and entitlement for all.
This document is intended as a first step on the road to changing that
state of affairs. The organisations and agencies that have contributed
to it represent a broad partnership and want to see the partnership
grow further. For reasons of equity, and practicality, we have chosen
to focus on children and young people under 19 years of age in our
first phase but the informed enjoyment of=2
0a wide range of film should
be the right and expectation of everyone. We believe that what we map
out here can make a positive and practical contribution to the ‘youth
cultural offer’ the govern-ment proposes to make as part of every child
and young person’s educational experience in England
and strengthen educational develop-ments in Scotland, Wales and
Northern Ireland.
Nor are we talking about yet another new initiative to be squeezed into
an over-stuffed school curriculum: what we propose will make the
existing curriculum more relevant and engaging, and is based on what is
already happening in classrooms,
after school or outside school altogether.
Our agenda goes
well beyond the playground walls. There is widespread
concern about the lack of high-quality film and television content for
children and young people. But the solutions suggested in Parliament,
the media and elsewhere are usually posed on the supply side of the
debate. We start from the other side – demand – believing that the
most effective way to extend what the industry offers is to help
nurture a more demanding and discriminating audience.
We want to see the evolution of a popular and dynamic film culture in
the UK, building on the rich heritage of British and world cinema and
contributing to an even richer future in the decades ahead. What we set
out here are=2
0the important first steps of that longer journey.
Film education: a snapshot
The UK already has a variety of organisations working in the field of
film education, most of them funded directly or indirectly by the UK
Film Council and together spending around £12m a year. They include:
The BFI, long-established as the main national agency for promoting the
understanding and appreciation of film
and television.
Film Club, piloted in 2007, which aims to establish a network of 7,000
after-school film clubs across the UK over the next three years to
dramati-cally increase the opportunities for five to 18 year-olds to
watch films.
Film Education, funded by the film industry
, which provides structured
programmes for the teaching of film criticism and appreciation in more
than 18,000 schools each year and offers professional development
opportunities and resources for teachers.
First Light Movies, funding and mentoring children and young people
aged between five and 19 to make short digital films, and now working
with about 2,000 children and young people each year.
Three National Screen Agencies, which promote the culture and industry
of film and TV in Scotland, Wales and Northern Ireland.
Nine Regional Screen Agencies in England, development agencies charged
with building sustainable media sectors and encouraging greater public
access to film culture.
Skillse
t, the Sector Skills Council (SSC) for Creative Media, is a
UK-wide industry body which supports skills, training and development
for people and businesses to ensure the UK creative media industries
maintain their world class position. Its
key roles in relation to this strategy are in supporting continuing
professional development, and in managing the implementation of the
Diploma in Creative and Media.
There are many other providers of film education activity including
schools, higher and further education insti-tutions, youth workers,
comm-unity centres, broadcasters, film festivals, independent
filmmakers, cinemas and mixed arts venues and local authorities.
The list is impressive and the diversity and=2
0quality of much of the
activity even more so. But the provision is uncoordinated and
inconsistent. At the outset of this process an analysis was carried out
of activity funded directly and indirectly by the UK Film Council,
National Screen Agencies and other public bodies, which highlighted
some of these discrepancies.
The largest share of funding aimed at young people goes to 14-19 year
olds and two-thirds of that is to support creative activity, in other
words, the making of films rather than watching them or developing a
critical appreciation. Barely 10% of all spending goes to the promotion
of critical understanding of film in younger children (aged three to
14). And the reach,
even of UK-wide organisations such as First Light
Movies, is modest; with a budget of just over £1 million a year, First
Light Movies has worked with 12,000 children and young people between
ages five to 19 and funded more than 900 films in seven years – an
aston-ishing achievement but still only reaching a tiny proportion of
that overall age cohort.
One of the priorities for film education is to integrate these strands
so that children and young people have the chance to watch, to
understand and, if they want, to make film – each element informing and
reinforcing the impact and value of the others. We explore this more
fully within this document. When resources
are inevitably limited, we
feel it is especially important to deploy them in the most effective
and equitable way possible.
Immediate challenges
Film education is still on the margins
Although all four nations of the UK have space for the study of film
and the media as part of the curriculum for five to 14 year-olds, in
practice very few children and young people benefit; fewer than one in
ten of 14-19 year-olds, for example choose to specialise in the study
of film or media. Many of the shortcomings of present practice stem
from the fact that, despite the National Curriculum in England and
Wales, and positive curricular developments and the introduction of new
curricu
la in Northern Ireland and Scotland, there is no embedded
culture of entitle-ment for children and young people to learn about
film as part of their overall educational experience. The growing
emphasis given to creativity and culture within these curricula, and
the proposed ‘youth cultural offer’ in England, may begin to shift this
perception; part of our purpose in developing this strategy now is to
ensure that film education, as a concept, is ready to play a
significant and practical role in that process.
There is little professional development for teachers and other
educators
A great deal of film education, in or out of the classroom, currently
depends on the passion and=2
0commit-ment of individual teachers and other
educators. However great their enthusiasm, teachers may feel that a
lack of specialist expertise diminishes their professional confidence
and therefore their ability to challenge and extend the learning
experience of their students. There is a similar lack of systematic
professional development for youth workers and media professionals who
choose to work with children and young people on education-related
projects whether in cinemas, production facilities or archives.
There are no agreed teaching approaches for film education
For the reasons suggested above, there is little emphasis on offering
children and young people sustained, coherent programmes of learning
with
clear progression routes, and no systematic means of using film
education to explore other, related topics such as intellectual
property and respect for copyright. Often, film education is merely a
disconnected series of one-off experiences; although there is a great
deal of activity around the country, there is little shared
understanding of what constitutes good practice or even good ideas in
film education. As a consequence, there is a weak evidential base for
understanding the impact or reach of film education and no agreed
measures for evaluating
its quality.
Wider access to films
A related issue is the increasing difficulty of getting access to a
broad and varied range of films, e
specially for younger children. As
cinemas and film distributors focus more and more on commercially
attractive films, and as competition for audiences drives all but the
most mainstream English-language films from network television,
children and young people are unaware of the rich variety and
extraordinary wealth of the UK’s film heritage, even though we have the
most extensive film and television archives in the world. Nor are most
children and young people aware of the enormous wealth of films from
other countries and in other languages, despite living in one of the
most culturally diverse nations on earth.
At the same time, digital screen-based technologies are opening up
great 20new possibilities for film education, as they are in every other
area of learning, with online access to resources, the opportunity for
personalised interactive learning, much cheaper and more accessible
distribution of classic and contem-porary cinema and relatively
inexpensive and simpler production equipment allowing creative activity
of a sort previously unimaginable.
However, a number of recent government initiatives have begun to change
the possibilities for film education:
Extended days and community-focused schools
From 2008, many children and young people will be under the care and
supervision of schools for more hours in the day and will have access
to a wider range of non-formal ed
ucational opportunities, including the
proposals for the ‘Find Your Talent’ cultural offer programme which the
Government has set out for young people in England. Film is a
cost-effective, high quality and practical way of delivering some of
the objectives for extended day provision for schools, children and
young people.
New accreditation pathways
These include the Creative & Media Diploma, the Welsh Baccalaureate
(BAC), Moving Image Arts and Youth Arts Awards. Each of these new forms
of accreditation will offer opportunities for an expanded and more
diverse experience of film. For the Creative & Media Diploma this will
include work-based learning experiences. The Welsh BAC and Northern 20
Ireland’s Moving Image Arts awards encourage new approaches to critical
and crea-tive film work, while the Arts Award has the scope to accredit
children and young people for their work with film outside formal
education.
Personalised, structured and sustained learning opportunities
The personalised learning agenda is being introduced in England as part
of the Government’s Every Child Matters initiative, which set out five
core themes for effective education – ‘being healthy’, ‘staying safe’,
‘enjoying and achieving’, ‘making a positive contribution’ and
‘economic well-being’. This has been enhanced by the recent 10 year
Aimin
g High strategy to ensure children and young people gain
comprehensive support from complementary activities inside and outside
school to contribute to their learning and well-being.
Film education has the capacity to contribute to each of these five
core themes in community and school environments, and to their
equivalents in Scotland, Wales and Northern Ireland, with digital
technology allowing pupils to plan genuinely personalised learning
pathways and structured and sustainable learning opportunities.
Better access to archives
The Government has recently comm-itted an investment of £25 million
towards a strategy for UK Screen Heritage. Together with £3 million
already committed by the UK Film 20Council for the UK Digital Film
Archive this fund will help secure the future of regional and national
archives for the enjoyment of aud-iences across the UK. The strategy
for UK Screen Heritage states ‘Media literacy and the use of moving
images in education has a significant role to play in educating, both
in formal and informal settings, a truly literate population.’
Coupled with increased digital access in schools and elsewhere, these
investments offer a major opportunity for rich educational development
of screen archives.
Themes of the strategy
Having set out the challenges and opportunities for film education in
the UK, we outline here the ‘operating prin
ciples’ for the strategy we
propose to adopt.
The Charter for Media Literacy was drawn up in 2005 by the UK Film
Council and its partners on the Media Literacy Task Force, the BBC,
Channel 4 and Skillset. It suggested three ways in which a fully active
and participating citizen would to be able to engage with media.
Although film education has a specific emphasis different from a
broader and all-inclusive approach to media literacy, the ‘three Cs’ of
the Charter for Media Literacy underpin both.
They are:
Cultural Access
The opportunity to choose from a broad range of films and so get a
better understanding of our and other people’s culture, way=2
0of life and
history.
Critical Understanding
The confidence to look behind the surface of the screen, to understand
a film’s intentions, techniques and qualities.
Creative Activity
The opportunity to make film and moving image, to have some
under-standing of the technical and creative process that allows the
effective expression of a story, a mood or an idea.
In the same way that media literacy is not simply a matter of private
benefit but an essential ingredient of the public good, so we believe
that film education is not just about extending the private enjoyment
and understanding of individuals, but has
a clear public value, making a real contribution to our sense of
cultural identity, emotional articulacy and to the UK’s future as an
open, tolerant society built on the foundation of a knowledge economy.
The ‘three Cs’ do not belong in isolation from each other but need to
be brought together in an integrated approach to film education. Each
element, while hugely beneficial in its own right, is made more
valuable and more accessible by its integration with the other two. If
children and young people are to get substantial benefit from film
education they should experience all three areas and under-stand the
relationship between them.
In addition, we believe that there are four essential principles that
give substance to this appr
oach:
Participation – everyone involved
Film watching and filmmaking are both group activities. This collective
experience of watching and making can bind together children and young
people to give a sense of common purpose and community, qualities which
we believe must be highlighted in all our future work.
Progression – a learning journey
We want to provide opportunities for children and young people to
exper-ience as wide a range of films as possible, to continually
develop their critical and cultural understanding. In addition, we want
to encourage an interest in, and engagement with, filmmaking.
Evaluation – what works best?
We want to develop a more syste-matic and=2
0integrated approach to film
education. To support this, we want
to disseminate good practice and develop first class teaching resources
and learning tools. Most importantly, we wish to establish recognised
and accepted common criteria for evaluating the impact and reach of
our work.
Professional development – how do we do it better?
Linked to the identification and spread of good practice and recognised
systems of evaluation, we will commit to improving and expanding
pro-fessional development for teachers and for other related workers.
We wish to explore the development of an approach which balances
creativity, critical ability and craft when we are dealing with
children and young people.
=0
A
We have now set out the challenges, opportunities and principles behind
our thinking. In the next section we lay out what we are going to do.
Aims of the strategy
Our vision is to ensure that all young people in the UK have the
opportunity to learn about film in all its richness and creative
possibilities. To achieve this, we have set ourselves two strategic
aims, one structural, the other focusing on innovation.
Enhancing current activity
We will consolidate existing film education activity into a coherent
and unified approach that is advocated, comm-unicated and evaluated.
To do this we will:
Ensure that the priorities of film organisations in the public s
ector
are aligned with the principles of film education.
Create a UK-wide network of key
providers of film education to share best practice, promote knowledge
and ideas, advocate and promote film education. The network will
maintain an open access database of edu-cation providers throughout the
UK. Additionally, a national conference will be organised for the
network to meet and exchange ideas in early 2009 and will meet on a
regular basis after that.
Create new regional partnerships of film education providers that will
enable significant new investment into film education.
Innovative new activity
To develop and sustain innovative activities for learning about film
that ensure exciting
opportunities are created for ever more diverse
audiences. This will involve both filling important gaps in current
provision and also initiating complementary activities that extend the
range of film education into previously unexplored areas.
To do this we will:
Develop an infrastructure that enables children and young people to
access a wider range of film content, in school, in cinemas and via
other platforms.
Invest in an expansion of online learning resources, especially those
that introduce young people to the UK’s film archive heritage, and to
new films made with public money in the UK.
Establish a coherent and comprehensive programme of training and
development for=2
0those involved in film education, accredited by
Skillset and others. The programme will be managed through the
regional and national partnerships, and there will be a national
framework to ensure quality of provision.
Use new learning routes as oppor-tunities for expanding film education
(including such pathways as Creative & Media Diploma, the Welsh BAC,
Youth Arts Award, Moving Image Arts).
Run regular advocacy campaigns aimed at employers, the film industry,
general public, policy makers, broadcasters and education providers to
persuade them of the value of film education. Such campaigns will be
high impact and will start in 2008 with Film and Video Nation, a
UK-wide initiative to promot
e participatory filmmaking around the
Olympics.
Work with all four UK Governments to incorporate film education in the
curricula of their initial teacher education programmes.
Long term success for this strategy will require sustained
communication, regular monitoring, and credible evaluation of the
outputs, public value and success of its various elements. The evidence
base generated by all the partners will then be a key tool for advocacy
across public, private sectors and Government.
What happens next?
This strategy brings together the work of many organisations, all of us
convinced that by working together in a more integrated way we can
transform the impact and value of fil
m education for children and young
people in every part of the UK.
In this first phase of the strategy, we propose to focus our energies
on achieving five main tasks, which are:
To devise and implement a pro-fessional development programme for
teachers and other film education practitioners to raise standards of
delivery and quality of engagement for children and young people.
To develop online resources that give educational access to the UK’s
film archives (in association with the UK Screen Heritage strategy).
To create online resources to accompany every appropriate publicly
funded British film.
To build a UK-wide network of school-based film clubs.
To pilot a new=2
0kind of partnership between the film and education
sectors: one at a national level (in Wales) and three in English
regions (in the East Midlands, Yorkshire and the North East). In the
second and third years we will extend these pilot projects to encompass
the other nations and regions.
Our ambition to achieve genuinely UK-wide impact will be under-pinned
by a commitment to prioritise action in rural areas and places that do
not have cinemas.
This document grows out of the work of a wide-ranging Strategy Action
Group, brought together under the auspices of the UK Film Council and
consisting of representatives from the BFI, Film Education, Film Club,
First Light Movies, Skillset and
the national and regional Screen
Agencies. We recognise that, as well as these organisations, many of
which are funded directly or indirectly by the UKFC, there are many
small community-based and locally funded organisations which are the
life-blood of film education provision. Most significantly, the 35,000
primary and secondary schools and colleges in the UK are all our
partners or potential partners. In going forward it is our intention to
work with, and support the work of, as many of them as possible.
Although the Action Group initially came together to provide a context
for the drafting of this document, our expectation is that it will
continue to meet on a quarterly basis to prov
ide feedback and guidance
as the strategy is implemented and developed.
In addition, a smaller Leadership Group, consisting of representatives
from the UK Film Council, the BFI, First Light Movies, Film Education
and Film Club has been largely responsible for drafting this document
and will continue to be responsible for co-ordinating the strategy.
Learning journeys
What kinds of film experience do we want children to have? What might
they get out of it?
Tunde’s Journey
Tunde is 16. His interest in film started at his after-school film
club, then took him to his local cinema. He’s one of the programmers of
the club, showing films every Friday, and inviting
local filmmakers in
for discussions and workshops. He writes about the films on his Bebo
page. He’s seen two films this year that have impressed him: Night of
the Hunter, and Show Me Love. Tunde’s school film club decided that
they wanted to make their own film about feeling unsafe on some of the
rural footpaths near where they live. They heard about Mediabox, which
lets you bid for money to do your own media project, and applied for
money to make it with their local cinema. They showed the film in their
local cinema where they invited local councillors as well as friends
and family and the council was impressed enough to improve the lighting
and signage on the pat
hway – and then asked the film club to make a
film about young people volunteering.
What Tunde said:
“Shooting was a little bit of what I expected. I had a vague idea of
what it would be like but I'd never seen a docu-mentary shot before, so
I never imagined it would be quite as long. I thought... if it was a
drama I expected more people but there was just one person most of the
time – the subject – and we were talking to them constantly and then
redoing it... I never thought you'd have to redo something in a
documentary.”
What Tunde’s dad said:
“I don’t think our household has talked about anything else for the=2
0
past six months.”
What the Councillor said:
“This was a thought-provoking film. The whole initiative shows what
young people can do if given the chance. The making of the film is a
valuable experience for the students and the wider community.”
Jenny’s Journey
Jenny is 11. In History, she made a trailer showing what happened in
England during WW2 using an online editing tool called E-SEQ which lets
you choose clips of archive footage and put them together and a
voice-over and add your own music. Jenny wasn’t keen on black and white
films before but now thinks you can make them interesting if you add in
your own stuff. She proudly showed
her Nan the film and her Nan
recounted stories about being a child during the war. Jenny’s Nan took
the film to the Help the Aged Community centre and now Jenny’s school
is working on a film reminiscence project where the children interview
older people and add their voice-overs to archive films. Jenny sent the
film to Film Street (First Light Movies’ website for younger children
that introduces them to film-making techniques) so other people could
watch it and compare it with their own. Teachers from other schools
have used the film in their own teaching. Now Jenny wants to make films
so future generations will know about her, her life, and community.
What Jenny
said:
“Film is a great way to bring people together; I never knew the older
generation had such hard lives, or great stories. The best thing was
that you were working with people both more and less experienced than
yourself. Not only would you learn from people who had more teaching
ability than you, but also from teaching things you knew to others.”
What Jenny’s mum said:
“Jenny’s film built a bridge with my mother’s generation. It’s really
important that young people know that older people were young once.”
What Jenny’s teacher said:
“I’ve just been looking at their history exams and they’re very good.
It
s helped them develop their knowledge so much more. In the class we
can have debates about it because everybody’s got a view and they’re
more willing
to listen and to speak about it.”
More Journeys
Sarita loves film. She watches the latest trailers on Film Street, and
her school took her to a children’s film festival where she saw a
Moroccan film called Zaina Rider of the Atlas about a girl who wins a
horse race, beating all the men in her tribe. The film prompted her to
choose to do a school project about Morocco where she now has half a
dozen e-pals. She asked for the film to be shown at her after-school
film club and afterwards she
got together four of her friends to make a
5-minute film about horse riding which they posted on YouTube for their
friends in Morocco to watch. She’s heard that at secondary school
there’s a film club, and she wants to get them to show more films like
Zaina.
Carl is 17 and has left school. His local youth club ran a project to
make a documentary about their estate, and he wandered into the room
where they were editing. After a bit of negotiating, they gave him a
five-minute sequence to edit to sound and he thought it was a great way
to control how people saw you, changing soundtracks to make the film
more upbeat. He’s since heard about Mediabox and h
e wants to get his
friends together to do a film challenge – making ten different music
videos for a Sean Kingston song to put on YouTube.
Charlie went to see a film in National Schools Film Week – they wanted
to see Shrek, but they all agreed that as they’d seen it lots of times
before they could just this once see something else. The film was
called My Neighbour Totoro about a big cat that takes two little girls
on adventures. He told his parents about it and they bought it in a box
set of other films by the same director. He liked another one, Kiki’s
Delivery Service, so he took it into school and they played it in
golden time and ta
lked about whether the witch was evil and nasty, or
forced to do bad things.
People who have been involved along the way
Louise Anderson BFI
Jay Arnold Screen Yorkshire
Martin Ayres Screen East
Tom Barrance Media Education Wales
Jim Barratt
Jo Burns BOP Consulting
Pauline Burt Film Agency for Wales
Cary Bazalgette
Pete Buckingham UK Film Council
Tim Cagney UK Film Council
Thalia Cassimatis BFI
Jo Cassey Skillset
Chris Chandler
Nikki Christie UK Film Council
Sara Clowes Northwest Vision & Media
Carol Comley UK Film Council
Sybil Crouch Ffilm Wales
Scott Donaldson Scottish Screen
Corinna Downing BAFTA
Wendy Earle BFI
Pip Eldridge First Light Movies
Christine James BFI
Toby Jackson
Andrew Gallagher Moving Image Education Project Leader
Jenny Grahame English & Media Centre
Rachel Grant UK Film Council
Julie Green Film Education
Paul Harris University of Abertay Dundee
Clare Harwood BFI
Ken Hay Scottish Screen
Antonia Hazlerigg UK Film Council
Mark Higham Film Club
Anneli Jones Arts Council Wales
Alison Kirwan BFI
Karen Langston Skillset
Clare Lewis First Light Movies
Bill Lucas The Bill Lucas Partnership
Bernard McCloskey Northern Ireland Screen
Martin Melarkey The Nerve Centre, Derry
Sarah-Jane Meredith South West Screen
Clive Myer University of Glamorgan
Caroline Nagle UK Film Council
Amanda Nevill BFI
John Newbigin UK Film Council
Caroline Norbury South West
Screen
Nicky North BFI
Claire O’Brien BFI
Kate O’Connor Skillset
Peter Packer
Becky Parry
Lorna Partington
Patrick Phillips Principal & Chief Examiner for A Level Film Studies
Rebekah Polding Film London
Heather Rabbatts UK Film Council
Derek Ray-Hill Film Education
Mark Reid BFI
Paul Richardson UK Film Council
Trish Sheil MOVies
Heather Stewart BFI
Dan Thomas Film Agency for Wales
Anne Threlkeld UK Film Council
Ana Tovey
Sam Wainstein Film Club
Nick Walker Film Education
Geraldine Walker MOVies / Showroom Cinema
Ian Wall Film Education
Gethin While Cardiff University
Amanda White
Richard Williams Northern Ireland Screen
Debbie Williams EM Media
John Woodward UK Film Council
0AAdrian Wootton Film London
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