Tapaustutkimus seitsemäsluokkalaisten musiikin oppitunneilla tekemien lyhytelokuvien audiovisuaalisista kerronnan keinoista monilukutaidon näkökulmasta

Nuorten elämään liittyy vahvasti audiovisuaalinen media eri muodoissa. Omien teosten tekeminen ja niiden jakaminen ovat helpottuneet digitalisaation ja sosiaalisen median myötä, mutta millaisia audiovisuaalisen kerronnan keinoja nykypäivän yläkoululaisilla on käytössään? Perusopetuksen opetussuunnitelman perusteissa monilukutaito määritellään eri muodoissa olevien viestien tuottamisen, tulkitsemisen ja kriittisen arvioinnin taidoksi.Tässä artikkelissa tarkastelemme, millaisia audiovisuaalisia kerronnan keinoja seitsemäsluokkalaiset käyttävät koulun musiikin tunneilla tehdyissä lyhytelokuvissa, ja pohdimme, miten lyhytelokuvien tekeminen voidaan nähdä osana monilukutaidon tukemista. Yleisesti ottaen oppilailla on kykyjä käyttää erilaisia kerronnan keinoja, joskin oppilaiden itse tekemistä lyhytelokuvista osa sisältää paljon erilaisia audiovisuaalisen kerronnan keinoja, kun taas osassa keinovalikoima on suppea kaikilla kerronnan osa-alueilla.Monilukutaidon pedagogiikan mukaan monilukutaidon prosessissa edetään omien kokemusten jakamisen, teoretisoinnin ja ohjauksen kautta kohti uusintavaa käytäntöä. Omien kokemusten ja merkitysten jakaminen yhteisöllisesti ja toisaalta niiden asettaminen laajempaan viitekehykseen mahdollistavat sen, että oppilaat voivat kukin kehittyä omista lähtökohdistaan. Lyhytelokuvien tekemisen ja audiovisuaalisten kerronnan keinojen erittelemisen kautta voidaan tarjota oppilaille tilaisuus kehittyä audiovisuaalisen kerronnan keinojen käyttämisessä, ymmärtämisessä ja niiden kriittisessä arvioinnissa.Avainsanat: monilukutaito, audiovisuaalinen viestintä, peruskoulu, musiikkikasvatus, mediakasvatus, elokuvakasvatusCase study on audiovisual storytelling of 7th grade students’ short films made during music lessonsDigitalization and social media have increased and made it easier to make and share one’s own audiovisual products, but what exactly do we know about young people’s audiovisual storytelling? In the Finnish National Core Curriculum, multiliteracy is defined as an ability to produce, interpret, and critically evaluate texts in various forms.The purpose of this article is to explore what modes and forms of audiovisual storytelling the 7th graders use in their self-made digital short films and how the making of short movies can be seen as a way of promoting students’ multiliteracies. The students have the capacity for audiovisual storytelling although storytelling varies a lot between self-made short films. Some of them include various forms of storytelling while the storytelling is limited in others.According to the pedagogy of multiliteracies, learning is a process in which learners proceed from experience to conceptualization, analysis, and to finally applying new practices. Students proceed from their own standpoints while they share their own experiences in collaborative making processes and learn to analyze and conceptualize their works. By making short films and conceptualizing audiovisual storytelling students can be promoted in multiliteracies.Keywords: multiliteracies, audiovisual storytelling, comprehensive school, secondary school, music education, media education, film education

High-school cinema curricula: Evidence of new trends in education

Drawn from the author’s PhD, and originally published in Images Documentaires in 2000, this article presents an incisive portrait of the complex political and institutional history that led to the establishment of film education within the curriculum in French secondary schools. Mounting a detailed account of the nuances and successive developments within the field, this essay examines the chronology – starting within a post-war context – through which the successive influences of ciné-clubs, teachers, television, political movements and government interventions have shaped the form of curricular school-based film education in France today.

Six years of School of Media: Exploring specialist pathways for film education throughout students’ experiences of Scottish secondary school

Co-authored by Scottish secondary school teacher Kerry Abercrombie and film education practitioner Jamie Chambers, this article explores School of Media, a specialist pathway within a Scottish secondary school in which young people are able to engage with film education potentially throughout their entire experience of high school. First exploring how School of Media seeks to reconcile aspects of film education with Scotland’s national ‘Curriculum for Excellence’, this essay subsequently adopts a chronological perspective, detailing specific aspects of School of Media’s approach within each of the six years of secondary school. The essay concludes by emphasising the importance of enabling and empowering teacher-led approaches to film education within Scottish classrooms.

Table of Contents: Film Education Journal 4(2)

Issue information for Film Education Journal 4(2).

Cross-media, co-creative and current: New strategies for educating talent for Danish children’s film and television in the 2020s

This article analyses recent developments in Danish film and television education through a case study of a new training initiative for creating content for children and young audiences. Following an outline of traditional training and career trajectories in the Danish screen industries in general, and for working with children’s film and television specifically, the case study investigates the guiding ideas behind Manuskriptskolen for børnefiktion (‘The Cross-Media School of Children’s Fiction’), which was established in 2020. The school marks a new approach to Danish film education in several ways. First, by creating a training ground focusing on a specific audience, rather than on screenwriting or film-making more generally. Second, by thinking of content for this audience as fundamentally multi-platform and teaching students storytelling across different media from the outset. Third, by insisting that creating content for this audience calls for having knowledge about the current lives of young people and their media use, and encouraging strategies for engaging or even co-creating content with them. The article builds on qualitative interviews, document analysis and observations at industry events as part of the research project Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences.

Sixteen years of ‘Cinema in progress’: Exploring Cinema en curs’s holistic approaches to film education in conversation with Núria Aidelman and Laia Colell

Established in Catalonia in 2005, Cinema en curs is now one of the most significant film education projects worldwide. This article places selections from interviews conducted in early 2021 with project founders and directors Núria Aidelman and Laia Colell within a critical context drawing upon international considerations of film education, including previous explorations of Cinema en curs. Discussion is separated into two distinct yet interconnecting sections: first upon the institutional and media-ecological contexts in which Cinema en curs takes place (and the complex considerations informing the project’s shape and manner of delivery that arise from these contexts); and, second, upon the different cultural, aesthetic and political priorities that inform the project’s approach to methodology and pedagogy.

Diversity and Inclusion in Film, Television and Media Sector: Policy Alternatives for an Inclusive Film Industry and Training

This issue of CINEJ Cinema Journal observed the slow recovery from the destructive effects of COVID-19 global pandemic on filmmaking, film distribution and exhibition, and teaching film at HE institutions. One development that is on the agenda is diversity and inclusion in film industry, film education and film studies/criticism as institution. The diversity of film sets has been voiced and is gaining momentum at creative top of the line levels of director, producer and screenwriters Still obstacles remain for those who want to move from entry to mid-level both in film industry as creatives and for academics who want to enter white dominated academia.