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ma vie en rose | courtesy of bfi stills
LOOK AGAIN ii
This publication has been made possible by the British Library Cataloguing-in-Publication Data British Film Institute Primary Education Working bfi staff involved
generosity of the Department for Education and A catalogue record for this book is available from Group 2002-2003 Cary Bazalgette, Head of Education Development
Skills (DfES). the British Library. Wendy Earle, Resources Editor
Ann Aston, Deputy Head Teacher, Robin Hood Hilary Pearce, 5–14 Development Officer
Written and produced by the Primary Education ISBN: 1–903786–11–8 Primary School, Birmingham Dr David Parker, Research Officer
Working Group convened by bfi Education. The copyright for this teaching guide belongs to Helen Bromley, independent Early Years
the British Film Institute. consultant The Working Group would like to thank the
Designed by: Alex Cameron and Kelly Al-Saleh Margaret Foley, Quality Improvement Officer numerous teachers, advisers and literacy
If you would like to reproduce anything in this 0–14, Dundee City Council consultants in all parts of the UK who contributed
Film stills: guide for any other purpose, please contact the Mary Hilton, Lecturer in Primary English, Faculty to the development process and the experiences
courtesy of bfi Stills, Ann Aston, Christopher Resources Editor, bfi Education, 21 Stephen of Education, University of Cambridge cited in this Guide, and in particular Geoff Dean,
Duriez, Juliet McCoen, Alison Hempstock, Street, London W1T 1LN. Teresa Kane, Teacher, St Mary’s Primary School, School Improvement Adviser (English), Milton
Jonathan Hodgson, Christina Schindler, Joel Tempo, Co Tyrone, Northern Ireland Keynes, who provided detailed comments on the
Simon, Debra Smith, Slinky Pictures Ltd, An Dr Jackie Marsh, Senior Lecturer in Education, draft version.
Vrombaut. University of Sheffield School of Education
Julie Roberts, Education Officer, Film Education
Copyright © 2003 British Film Institute Philippa Thompson, Community Teacher,
Sheffield Early Years Education and Childcare
First published in 2003 by bfi Education, Gez Walker, Education Manager, Showroom
21 Stephen Street, London W1T 1LN Cinema, Sheffield
Paul Wright, English Consultant, Consulting
The British Film Institute offers everyone Division, Qualifications and Curriculum
opportunities to experience, enjoy and discover Authority, England
more about the world of film, television and
moving image culture.
www.bfi.org.uk/education
CONTENTS
1 Introduction
51 Chapter 8: Resources
59 Glossary
INTRODUCTION
This Teaching Guide is based on one simple idea: The British Film Institute set up a Primary
that the moving image media – film, television, Education Working Group on media education in
video and an increasing number of web sites and 1986, which published a Curriculum Statement to
computer games – are important and valuable coincide with the establishment of the National
parts of our culture. It follows that children have a Curriculum in England. Many curricular reforms
basic right to learn about these media in school. and political changes have occurred since then,
official attitudes to media education have relaxed
Our message here is a positive one: that the considerably, and requirements for media
moving image media provide us with a distinctive teaching now appear in all UK curricula. However,
and vital means of expression, are a dominant the moving image media remain a daunting area
and global source of stories, ideas and opinions, for many teachers and are often neglected even by
and are an increasingly important part of our those who agree that media education is important.
cultural heritage. We want to provide you with
the basic advice and resources necessary to start A second Primary Education Working Group was
teaching about these media in the context of convened to write this Guide, and includes
foundation and primary education, and with teachers, teacher trainers and advisers from
evidence grounded in reliable research that will across the UK, and representatives from the
give you and your colleagues a clear rationale for Department for Education and Skills and the
integrating this work into your teaching. Qualifications and Curriculum Authority. The
pupils of robin hood school birmingham | courtesy of ann aston
Group has drawn upon a wide range of existing
This Guide presents starting points, first work in schools and on a body of research that This Guide follows the format of the bfi’s guide We look forward to comment and feedback from
principles and ideas for further work. It is not conclusively demonstrates the value of moving for secondary teachers published in 2000, colleagues, as part of the ongoing process of
a textbook, nor have we tried to cover everything. image education in the primary school and early Moving Images in the Classroom, in developing relevant and exciting educational
We hope to inspire you to try out the approaches years. We are delighted that the Department for concentrating on film, videos and television and experiences for all children in the UK.
described here, to discuss them with colleagues, Education and Skills has provided a generous offering specific, practical advice on how to teach
and then perhaps to seek further advice, training, grant towards the costs. about them. bfi Primary Education Working Group
and classroom resources – some of which we September 2003
list in Chapter 8.
bag of rice | courtesy of bfi stills
LOOK AGAIN THE CASE FOR MOVING IMAGE EDUCATION FOR 3-TO 11-YEAR OLDS 3
chapter one
THE CASE FOR MOVING IMAGE EDUCATION FOR 3-TO 11-YEAR OLDS
It makes sense for schools to capitalise on this embeds it in existing curricular requirements, that they have to work with the known and
Well, it’s a new way of seeing, isn’t it? knowledge and enthusiasm. Many teachers offering enhancement and variety, not extra work. the given to help their pupils to make sense
(Six-year-old girl, Essex, after talking about believe that a focus on core issues does not allow Teachers find that it makes better sense to of the world (Rogoff ,1992). In our culture nearly
screen adaptations of picture books) time for sharing their own enthusiasm for films acknowledge and build on what children already all children have, from birth, extensive experience
and television with children. Furthermore there know and can do, than to try and start with with film, television and video (Kress, 1997;
is a tendency to assume that moving image a clean slate. In this chapter, we offer five further Bromley, 1999; Marsh and Hallet, 1999).
Television and video are among the first cultural media are bad for children and detract from key arguments, backed by academic research, To carry on this work of involving children with
experiences of most children in the UK in the ‘real’ education. which make the case for building moving image texts and processes so that they can understand
21st century. At an early age they learn to make education into the learning experiences of all how to ‘read’ them at deeper levels and to
sense of the flickering images on the screen, But the truth is that the emergent ‘cineliteracy’ three- to eleven-year-olds: produce them for themselves – one of the chief
the changes of size and angle, the switches of of three-year-olds sets them on the brink of ● The necessity for active learning; aims of the literacy curriculum – it is necessary
background and character, the sounds and music an amazing world of images and sounds. Wild ● The power of linking home and school; to start with those very texts they are already
that signal danger, comedy, excitement and happy fantasy, gritty realism, scenes from yesterday ● Deepening understanding of texts; reading actively (Browne, 1999; Meek, 1991).
endings. By the time they are three years old, and from a hundred years ago, live events from ● Creativity and the moving image; This learning process does not fade away as
most children have learned another language across the world, are all available for children ● Understanding of culture and society. children learn the symbolic system of English
in addition to their spoken mother tongue: they to see and understand through the moving image orthography. It continues to enhance their
have learned the codes and conventions through media. Some of these may present lies, some are ACTIVE LEARNING: FROM THE KNOWN abilities to read and write and understand all
which moving images tell stories. Their mastery offensive or frightening, some meretricious TO THE UNKNOWN kinds of texts, both in school and outside. Active
of this language is still limited: they may not be and worthless. The same goes for books! Many studies have emphasised that the human engagement with the familiar supports and
sure yet about what is ‘real’ and what is ‘pretend’ However, we learn to read because books offer brain learns actively. In other words, whatever is enlarges understanding of the new and different
(although they are very interested in finding out); unique opportunities to share the knowledge and being taught must engage the learner as an active (Heath, 1983; Meek, 1988; Gregory and
they may understand little of what they see on imagination of others. For the same reason, agent for meaning to emerge. In the deeper Williams, 2000).
the news, daytime films and game shows, or early all children are entitled to learn about the world process of learning, the learner moves from
evening soap operas. But most children will have of the moving image. the known to the unknown, making the known LINKING HOME AND SCHOOL
their own collections of favourite videos, which explicit to themselves and then enlarging that Again, a variety of research studies show that
they know almost by heart, and their eagerness While the moving image media could be studied knowledge and understanding which he or she the most successful schools and teachers work
to catch broadcasts of their favourite shows often in their own right as a new subject in the already possesses (Bruner, 1986; Vygotsky, 1978). with the culture and understanding that their
ensures that they quickly learn to tell the time and curriculum, this is not what we are arguing for. In the case of very young children coming into young pupils bring into school. This can take
operate the video recorder. The rationale for moving image education school, teachers in the foundation stage know the form of a holistic approach in the early years,
often talk about these texts knowledgeably.
However, if cineliteracy were part of the school
curriculum, children’s understanding of these
texts, and their ability to talk and write about
them, could be significantly enhanced.
As Buckingham puts it:
LOOK AGAIN THE CASE FOR MOVING IMAGE EDUCATION FOR 3-TO 11-YEAR OLDS 4
LOOK AGAIN THE CASE FOR MOVING IMAGE EDUCATION FOR 3-TO 11-YEAR OLDS 5
The cultural centrality of moving image texts representation of, say, a volcano in a to slow down in Key Stage 2, after pupils have rich and varied contexts in which pupils can
means that they can help make the school documentary film for Science or Geography, learnt to decode words and are able to collect generate and extend ideas, suggest hypotheses,
curriculum relevant and engaging, both to pupils considering evidence and bias in an archive film information if it is stated explicitly in the text. apply imagination, and look for alternative
who struggle with the formal demands of in History, appreciating the affective power of (See annual reports by the Qualifications and outcomes. Here moving image work can play
symbolic systems, abstract ideas and imaginative short films, or comparing the different ways still Curriculum Authority on pupils’ responses to test an important role. Young pupils who can read
responses, and to young learners who are gifted images achieve an impact on our emotions, questions in the National Curriculum Key Stage 2 a variety of texts and messages critically, and who
but disaffected, for whom it is essential to extend all teach pupils about the nature of textual Reading tests.) Yet we know that to infer is an can produce in a range of media, are best
the school curriculum to incorporate more representation. Moving image texts can be used important and natural act of mind. Children equipped for the complex technological world
complex and relevant challenges within the to enhance pupils' knowledge and understanding perpetually ‘read’ gesture and sign in the social of the 21st century. In school young pupils can
culture that surrounds them. of all texts and the role they play in creating our world that surrounds them. For example, if an make significant progress towards becoming
culture. Working with the different semantic adult bangs something down on the desk, most creative with communication technology,
For children for whom English is an additional systems of moving image and print, for example, children can ‘infer’ anger or an assertion of grasping the essential meanings of visual texts,
language, moving image work can be central to has a vital educational role to play in developing authority. Certainly many children who can read working to produce their own short moving
active and autonomous learning. There are many comprehension. Recent work by the bfi (see only at a purely literal level with print text can image texts, critically analysing a range of texts
films suitable for use in the primary classroom Chapter 3) shows that short films can be used and do infer at far more sophisticated levels when and learning, vitally, to move from one
which do not have a spoken soundtrack. Clearly to stimulate writing, while storyboards can be presented with moving image text (Hodge and communication technology to another. In this
moving image work has a strong, inclusive role used to transpose a passage of prose into Tripp, 1986; Pompe, 1992; Whitley,1996). This work teachers are not simply being asked to
to play in a primary curriculum that is active, film; these activities recharge pupils' interest means that the more teachers can work from engage pupils in an unsupported, imaginative
meaningful and challenging to pupils of both and capacity for understanding both print moving image texts to print texts and back again, free-for-all but to provide solid contexts, and
genders and all ethnic groups. and film. the more they will foster their pupils’ reading to institute careful processes of planning
skills and responses in both media. Clearly and preparation, evaluative and supportive
DEEPENING THE UNDERSTANDING There is then the issue of ‘higher order’ moving image education has a vital role to play critique, and opportunities for thoughtful
OF THE NATURE OF TEXTS comprehension and how this may be developed. in developing the higher order skills that British self-assessment.
The school curriculum in its more formal aspects Research shows that many primary aged children children need to learn to read and to comprehend
is almost entirely to do with texts and messages. are failing to develop reading skills beyond the all texts. UNDERSTANDING CULTURE AND SOCIETY:
Underlying the work in virtually all subjects are basic skills of decoding text literally. In fact many MEDIA LITERACY AND CITIZENSHIP
a variety of texts and genres. These are pupils continue through school unable to read CREATIVITY AND THE MOVING IMAGE Finally it is worth reminding ourselves how
constructed representations of reality and between the lines, to infer from texts the Pupils’ creativity is growing in importance in all important moving image education is to all
knowledge, whether they are designed to convey messages that are not stated but are brought UK curricula. Pupils need to be prepared for life citizens in the modern world. Moving image
information or to act upon our feelings. A major about by its development and organisation in a rapidly changing world for which their skills media have a unique capacity for the
intellectual aspect of the Primary and Early Years (Siegler, 1991; Yuill and Oakhill 1991). Neither will in creativity will be paramount. development of cultural understanding
curriculum involves unpicking the construction many pupils attempt to bring their own feelings Certainly employers want people who are and citizenship in a multi-ethnic nation.
of texts, fact or fiction, as well as understanding or responses to texts in school (or in reading adaptable, see connections, have ideas and can Watching programmes and films made and set
genre rules and seeing where artists and writers tests). These ‘higher order’ skills of inference, innovate and communicate in all sorts of ways in different cultures can help develop an
have transformed genres. Studying the textual exegesis and personal response, seem (QCA, 2002). Teachers are expected to provide awareness of sameness and difference that
is essential to cultural understanding. This is not merely to object to stereotyping and bias: they These are high ambitions. We know very well how M Meek (1991), On Being Literate, Bodley Head
simply a matter of taking such material at face must also learn to offer alternatives, to present much pressure there now is on Foundation and M Meek (1988), How Texts Teach What Readers
value. To begin to understand how other people what they think a fairer representation would Primary teachers to meet ever more demanding Learn, Thimble Press
are represented in the moving image media look like. We do not, after all, want to produce targets. That is why you will find in the next H Minns (1997) Read It To Me Now!,
is at the root of enlarged cultural understanding. audiences of cynics. The media deserve chapters some simple and accessible starting Open University Press
Unpicking and analysing the business of ‘making audiences that expect high standards of honesty points for work with moving images in the C Pompe (1992), ‘When the Aliens Wanted Water:
real’ social realist texts such as soap operas, and and accuracy, and know how to challenge classroom. Children’s Critical Frontiers’ in M Styles et al
of ‘making strange’ fantasy texts such as Batman products that fall below such standards. (eds), After Alice: Exploring Children’s
or Star Wars can enhance the ability to question All children have the basic democratic right REFERENCES Literature, Cassell
and reflect in the classroom, to discuss the to learn these skills and to develop their own H Bromley (1999), ‘Video Narratives in the Early B Rogoff (1992), Apprenticeship in Thinking:
representation of stereotypes and archetypes, criteria for judgment. Years’ in M Hilton, (ed), Potent Fictions: Cognitive Development in Social Context, Oxford
of cultural and gender differences. The news Children’s Literacy and the Challenge of Popular University Press
and documentary programmes and films that are Culture, Routledge R S Siegler (1991) Children’s Thinking, 2nd edition,
widely used as part of Geography and Citizenship N Browne (1999), Young Children’s Literacy Prentice Hall
need to be read closely and critically if they are Development and the Role of Televisual Texts, L S Vygotsky (1978), Mind in Society: The
to be of real use, not just in awakening children’s Falmer Press Development of Higher Psychological Processes,
awareness of other places and cultures, but in J S Bruner (1986), Actual Minds, Possible Worlds, in M Cole et al (eds and trans) MIT Press
developing their awareness that such material Harvard University Press LS Vygotsky (1988), Thought and Language,
is deliberately constructed and may serve a variety D Buckingham (1990) ‘Making it Explicit: A Kozulin (ed and trans) MIT Press
of motives. Towards a Theory of Media Learning’ in D Whitley (1996), ‘Reality in Boxes: Children’s
D Buckingham (ed), Watching Media Learning, Perceptions of Television Narratives’ in M
Our ability to see behind an image or text, Falmer Press Hilton (ed) Potent Fictions (op cit)
to appreciate its constructedness, is vital E Gregory and A Williams (2000), City Literacies: N Yuill and J Oakhill (1991), Children’s Problems
in helping us to understand and engage with Learning to Read across Generations and Cultures, in Text Comprehension: An Experimental
the worlds of the imagination and poetry, and Routledge Investigation, Cambridge University Press
of politics and ideology. This is essential in S B Heath (1983), Ways with Words: Language, Life
a culturally diverse, democratic and technological and Work in Communities and Classrooms, GOVERNMENT REPORTS
society. Children are keen to understand the Cambridge University Press Report by Social Inclusion Unit (May 1998)
world around them and to learn the ways and B Hodge and D Tripp (1986), Children and Df ES (2002) Exclusions from School
means that moving images achieve their effects. Television, Polity Press Df ES (2003) Admission Appeals for Maintained
But they are also keen to challenge media G Kress (1997), Before Writing: Rethinking the Primary and Secondary Schools in England
representations where they seem to be unfair Paths to Literacy, Routledge 2001/02 (provisional)
or misleading, or indeed where groups or events J Marsh and E Hallett (1999), Desirable QCA (2002) Creativity: Find it, Promote it.
are systematically marginalised or excluded from Literacies, Sage
the railway children | courtesy of bfi stills
the media. It is not enough for children to learn
LOOK AGAIN THE CASE FOR MOVING IMAGE EDUCATION FOR 3-TO 11-YEAR OLDS 6
LOOK AGAIN BASIC TEACHING TECHNIQUES 7
chapter two
BASIC TEACHING TECHNIQUES
We all know how frustrating it can be to show (see Chapter 8) and is better undertaken in draws their attention to the editing process. Each technique is set out across three columns.
a video to pupils and get nothing much back practical sessions, not through written advice. Any of these techniques can be used from time The first column describes the activity itself
in response apart from ‘it was boring’ or ‘liked But it is well-established that pupils who have to time in short sessions to build up pupils’ and the second column provides questions which
the bit where…’. And what kinds of question an opportunity to watch and analyse moving critical awareness of how moving image texts should help you to start the ball rolling in setting
can you ask of pupils other than ‘look out for…’? image media and to think about how they are work. Naturally, your confidence in using the work or guiding whole-class discussion.
Using video more productively is not just made, achieve more satisfactory results in technique to develop more critical and thoughtful The questions in italics are suggestions for the
a matter of knowing some technical terms – practical work than those who are encouraged ways of working with moving images will increase ways you might ask these questions of pupils.
though these can help. It depends upon to think of moving image production as merely with practice. The notes in brackets that follow indicate the
recognising that the moving image has a complex a set of technical skills. underlying motivation for the questions. Learning
and dense language of its own. Even the youngest The next two techniques, 4 Top and tail and 5 objectives are listed in the third column.
children have learned to ‘read’ film, video and The techniques are not age-specific. You could Attracting audiences, deal with the ways in These are moving image specific, but if you
television, while not necessarily being aware use any of them with any age group depending which moving image texts are produced and accept our argument that ‘cineliteracy’ supports
of their own skills. on the topic in hand, the moving image text you aimed at audiences. At whatever level, it is any subject, then you should find these useful
want to base them on, and how far you want important to point out to pupils that any moving insights that will contribute to communication
The eight basic techniques described on the to follow through each activity. But you may feel image text need not necessarily be taken at face and understanding in your subject area.
following pages are designed to help you unravel that Techniques 7 and 8 are inherently more value. They should think about the roles involved
the codes and conventions of the moving image, sophisticated and thus more appropriate in making a film or TV programme and the We have avoided media jargon as much
and enable you to use a wider range of film and for Key Stage 2. ways in which they are being targeted as as possible, but the techniques necessarily
video texts in the classroom. As you and your a potential market. introduce some simple and useful technical
pupils unpack the layers of meaning, you will The first three techniques concentrate on the terms, which are explained in the Glossary.
be helping them to develop their general skills language of the moving image. They offer you Techniques 6, 7 and 8, Genre: what happens next, To use the techniques you will need, at minimum,
as more critical, attentive and knowledgeable ways of encouraging pupils to see how everything Generic translations and Simulation/production, a VCR with a good ‘pause’ facility that enables
readers of the moving image. in a moving image text is saying something, and offer you more substantial classroom activities to you to view single frames. A ‘frame advance’
contributes in some way to its overall meaning. explore ways of first recognising the conventions feature would also be useful. In the following
These techniques are an essential preliminary Technique 1, Freeze frame, concentrates on the of moving image texts and then making changes three chapters you will find examples of these
to practical work with moving image media. visual language of moving images. Technique 2, to them and relating them to other media. These techniques in practice. Some of the follow-up
This Guide does not set out to provide you with Sound and image, helps pupils see how could be used to set up class projects to explore activities also require ICT software that can
advice on how to use film- or video-making important sound is in the interpretation of an issue or topic. handle moving image material (see Chapter 8).
technologies: that is available from other sources moving image texts. Technique 3, Spot the shots,
BASIC TEACHING TECHNIQUE KEY QUESTIONS LEARNING OBJECTIVES
1. FREEZE FRAME
● Use the video pause button to help the class discuss each shot ● What and/or who can you see in the shot? Pupils should learn that:
of a short moving image text or extract (eg 60 seconds long) by (Why is the shot composed like this? What difference would it make ● Every element of a visual image can carry meaning.
looking at and discussing: if it were composed differently?) ● Visual images can be ‘read’ like other texts
● What they can see in the ‘frozen’ image; how the elements of the ● Where do you think the camera is? How many cameras do you think ● The position of elements within the image, the colours used,
image are positioned in the frame; how lighting and colour affect there are? (Why is the camera positioned in this way? and the lighting, can all affect interpretation.
what is seen. What difference would it make if it were somewhere else?) ● Camera distance (eg close-up, long shot etc), camera angle
● Distance between camera and subjects; camera angle; ● When does the camera move from one shot to the next? How does one and camera movement all affect meaning.
movement of the camera during a shot. shot differ from another? (What difference does it make if the order ● The number and order of shots affect meaning.
● How many shots there are and how the sequence of shots builds of shots is different or some are missing?)
up information and ideas or impressions. ● What can you tell about the time/place/setting?
(How does the setting/ lighting contribute to the
Possible follow-up: atmosphere/meaning of the shot?)
● Use a storyboard or moving image software to change the order ● What can you tell about the characters from how they are dressed?
of the sequence or eliminate some shots. (What impression is given of the characters by their costume/ body
language? Does it say any thing about their status or relationship?
contribute to the drama of the sequence?) and establish its generic identity (eg comedy, thriller).
Possible follow-up: About words: ● Sound can often do more to ‘pin down’ the meaning of
● Try out any or all of: ● What can you tell about the speaker(s) from their voice(s) and what a sequence than visual images can.
● Different music; they say? (How does intonation, accent, volume contribute to your ● Sound can affect not only the way viewers interpret the images
● Different sound effects; impressions of the speaker(s)?)
but also what they actually think they can see.
● A different voice reading the same words; About silence:
● Off-screen sounds can help to create the impression of three-
● Different words; ● Why do you think the sequence is silent at this point? What might be
● Or eliminating any of these elements. going on? (How can silence create drama/atmosphere/ tension?) dimensional space.
● Discuss how this affects the ways the images can be interpreted. About the final viewing: ● Silence can also have a powerful effect on the interpretation
5. ATTRACTING AUDIENCES
● Pupils find examples of a range of merchandise/ promotional ● What kind of products are offered? eg free gifts/promotional packaging Pupils should learn that:
items related to a currently popular film/TV programme related to the film/programme. ● Marketing and promotional strategies are central to most moving
(eg dolls/action figures, T-shirts, computer games, cereal/crisp (Does the film/programme help sell the merchandise/ product or vice image industries.
packets). versa?) ● Moving image texts can be promoted in many different media.
● Groups or pairs present their findings (eg as live presentation, ● Is the merchandise/promotional material aimed mainly at boys? Girls? ● Marketing a film/programme involves promotion through a range
poster montage etc) to the rest of the class indicating what they Both? How do you know? (How is gender represented in the design of of mutually reinforcing products (synergy).
tell us about whom the film/programme is intended for. the products? Is there evidence of stereotypical expectations of what ● Children are often specifically targeted as a valuable market
will appeal to boys or girls?) for products.
Possible follow-up: ● Are children the only people the merchandise will appeal to?
● Pupils devise an outline for their own moving image text aimed (Is there evidence of more than one type of audience being targeted?
at a particular audience and then design a series eg adult collectors)
of merchandising items/ promotional tie-ins to promote it. ● How else was the film/programme publicised?
(Is there evidence that the merchandise/promotional material is part
of a wider, co-ordinated publicity campaign?)
● Why do you think the makers of the film/programme might be
particularly keen to appeal to a young audience? (Why are children
seen as a valuable target market for a wide range of products?)
8. SIMULATION/ PRODUCTION
● Pairs or groups of pupils are placed in role as producers of ● Why did you choose this target audience? What do you think they will Pupils should learn that:
a moving image text to be used in any curriculum area and asked like about your product? (How does the content, subject matter and ● Most moving image texts are produced within editorial and
to produce plans for how they would: way the text has been constructed make it suitable/attractive for the institutional constraints: time, budget, context, purpose etc.
● Construct it for a particular age-group; target audience?) ● Content and form will vary according to audience and purpose.
● ‘Sell’ the text to the audience; ● How will you get people to buy/watch your product? (How will the text ● Texts need to work within established conventions but may also
● Structure their text to present their ideas for maximum effect. be marketed? What methods would be most appropriate to reach challenge them.
● The plans should be presented to the teacher or another group the target audience?) ● Alternatives are possible.
acting as Commissioning Editor or Executive Producer. ● How is your product similar to other ones like it? What makes it
different? (Does it conform to or challenge the conventions of this
Possible follow-up: type of text?)
● If the resources are available, one group’s idea could be selected ● What factors did you have to think about when you planned your
to be produced, involving as many of the other pupils’ ideas as product? (What constraints/ limitations were there in terms
possible in the roles explored in ‘Tops and tails’. Parallel groups of accessibility, acceptability, practicality etc.)
could work on marketing the text to the chosen audience. ● If the product is made:
● How realistic were the plans with regard to deadlines, time etc.
● What changes to the plans would you make if you were
starting again?
● How well was it received by the targeted audience?
● What methods were used to ‘sell’ the text and how successful
were they?
If ‘literacy’ in its broadest sense reflects a wider the rules and codes that govern moving image WHAT LITERACY OBJECTIVES CAN MOVING
cultural competence, then the immensely media. By developing their own use of ‘technical’ IMAGE STUDY HELP TO ACHIEVE?
important role of moving image media in our language they can then undertake more confident In many cases there is little adjustment needed
culture and society should be sufficient analyses and evolve a deeper understanding of to acknowledge that the reading and discussion
justification for ensuring their integration the ways all texts work. As well as the terms that of, and writing related to, moving image texts
in literacy teaching in school. However, in this are specific to moving image media, such as is naturally fulfilling a variety of literacy based
chapter we focus on more pragmatic arguments ‘shot’, ‘close-up’, etc, there are many terms that curricular objectives. Within UK curricula
for recognising the role and value of moving can be used meaningfully in the analysis of both covering the three to eleven age range, moving
image texts in the development of children’s moving image and print media, such as image media learning objectives and curricular
literacy. We examine the relationship between ‘narrative’, ‘character’, ‘genre’, ‘setting’ and so objectives for literacy can be correlated to show
moving image and print texts and highlight on. (This is why, in this chapter, we will refer to that learning with film and television is relevant
strategies for using moving image media for both print and moving image media products as for teachers and pupils.
effective literacy teaching in early years and ‘texts’.) The exploration of these terms through
primary classrooms. We argue that moving image classroom talk in relation to moving image texts During early years teaching and learning
media have a crucial role to play in the provides pupils with a meaningful grounding in practices, within the development of children‘s
development of children’s ability to think, talk key literacy concepts, which in turn leads them to communication and language skills, important
and write creatively and purposefully. more confident production of their own written objectives that can be addressed by using moving
stuart little | courtesy of bfi stills
and moving image texts. Much of the evidence image texts include:
HOW DO MOVING IMAGE MEDIA RELATE TO generate rich and sustained classroom for this process derives from teachers’ work with ● Extending vocabulary;
LITERACY? discussion. Moving image-based oracy work is the bfi publications Starting Stories and Story ● Using story language;
The processes of viewing and interpreting a vital stage of developing pupils’ realisation that, Shorts where literacy objectives and targets from ● Re-telling stories;
moving image media products – films, television like other art forms and forms of communication, the English National Literacy Strategy are set ● Sequencing;
programmes, videos – can be seen as similar the moving image media have their own codes, against moving image media learning objectives ● Identifying characters.
to the processes involved in making sense of conventions and rules of construction. and outcomes for short films. In this chapter we
print texts. But because viewing is usually a will therefore be making a number of references
shared activity, it stimulates speaking and Even more importantly, the safe and supportive to these resources.
listening, often at an enhanced level of articulacy environment of classroom talk helps pupils
and enthusiasm. Teachers have frequently to realise that they are bringing expertise to the
commented on the power of moving images to debate: they already know something about
As highlighted in Chapter 4, learning outcomes In addition, discussion and writing inspired These examples illustrate the close relationship models of literacy can exclude many children
relating specifically to moving image media by and related to, moving image texts would fulfil between what can be read in a print text and what precisely because they fail to connect with texts
include: valuable literacy objectives, including: can be read in a moving image text.Many literacy they value, especially where those texts are not
● Using key words to discuss a moving image ● Acquiring new vocabulary from shared activities can easily be derived from a moving print-based.
text, eg ‘animation’, ‘live action’; experiences; image text to achieve literacy outcomes. For early
● Identifying how a film introduces a character; ● Identifying and forming sentences years and beyond these can include: Similarly, Robinson (1997) has shown how
● Understanding that sound and images go and questions; ● Shared reading; a shared reading practice, one that draws film, TV
together to tell a story. ● Recognising structure of recounts; ● Talk for writing; and video into the ambit of what is acceptable
● Using language of texts as models to write ● Shared writing; in terms of reading texts, can be incredibly
As children progress, language and literacy simple recounts. ● Independent work. empowering for emergent readers. Children who
objectives that can be met through analysis are able to draw on connections and parallels
of a moving image text include developing their Throughout the primary phase, children who BUT AREN’T MOVING IMAGE MEDIA BAD FOR between film and print are more likely to become
understanding of: undertake learning activities in relation to a range LITERACY? confident and critical readers across different
● Narrative structure; of moving image texts will also be addressing The debate about the relationship between media media, including print.
● Openings and settings of stories; targets relating to reading and writing such as: and literacy is lengthy and complex. Although
● Character profiles; ● Descriptive writing; there is little evidence for it, many people believe Mackey (1999) has pointed out the variety
● Language of image, music and sounds ● Openings and endings; that there is a direct relationship between a fall and depth of reader engagement with film
(sound effects). ● Story settings; in literacy standards and a rise in children’s and televisual texts. She has shown how it offers
● How settings influence events and characters; consumption of the moving image and that social them insights into structural aspects of narrative
Related moving image learning objectives that ● Distinguishing between first and third person behaviour is adversely affected by the influence as it is conveyed through the medium of the
would support these formal curriculum targets, accounts; of visual media, in particular film and television. moving image. This second-level engagement
while developing understanding about moving ● Using expressive and figurative language. In fact, research and practice demonstrate that is an opportunity to understand the complexity
image texts in their own right, could include: using media texts can motivate children and of story-making as it exists in a particular market
● Recognising that film tells a story in [moving] The bfi publication Story Shorts gives examples create the necessary conditions for engagement place – the film industry and the associated spin-
pictures; of how related moving image learning objectives with literacy learning. offs in merchandising terms – which in turn, can
● Understanding how a film sequences events; can be described, for example learning about: shed light on similar relationships that can exist
● Identifying narrative structure and describing ● The importance of settings; For many years a compelling body of research has in relation to print texts.
openings, settings and endings; ● How colour affects mood and atmosphere; built up from within university education
● Discussing how film can show characters ● How a film tells a story though a sequence departments, especially within the UK, US, At the bfi a number of research projects have
and their behaviour; of shots and scenes; Canada and Australia, which suggests powerful examined some of the profitable links that can
● Recognising the relationship between ● The use of shots to show different characters’ links may exist between the kinds of narratives be exploited by teachers when media is
characters and their settings. viewpoints; children and young people enjoy as consumers incorporated within literacy teaching. Parker
● The use of voiceover as narrative. and the kinds of learning expectations schools (1999) has suggested ways in which structural
and parents hold as desirable in relation similarities and differences of films and books
to literacy. Marsh (1999) shows how ‘top-down’ can be used to compare moving image texts
and written texts as part of a media production The visual ‘clues’ present in moving image SOME CONNECTIONS BETWEEN
process. Oldham (1999) has explored how texts also offer opportunities to develop other CASE STUDY CINELITERACY AND LITERACY
reading multiple film adaptations of an original key literacy skills including; prediction and recall A teacher with a class of eight- to nine-year- ● Moving image texts can be used to illustrate
print text can promote a critical literacy among and understanding the passage of time olds remarked on the effect that using genres or types of story, such as traditional
groups of readers that spans the book and film (often signalled clearly with visual references, moving image texts had on the children’s stories or ‘fairytales’. For example, when
versions of a single narrative. eg colour and speed to show different times writing, where she identified more looking at traditional stories, the National
of day or night). sustained individual writing, a greater use Literacy Strategy for England defines an
In the US, Butler et al (2002) illustrates of paragraphing and what she described appropriate text as one that has:
in an online paper the positive relationship Seven- to eleven-year-old children involved in the as ‘a distinct visuality to their work. They ‘an opening that includes setting of place
between TV viewing and the development bfi Story Shorts pilot project frequently showed picked up detail from the film and and time and introduces characters, a series
of reading comprehension. And Dyson (1996) their ability to interpret codes specific to the translated it into their writing’. of events that build, complications, resulting
has offered compelling interpretations of moving image, such as shots, framing, events, resolution and ending’.
children’s meaningful and concept-rich composition, sequencing and the use of colour Another teacher remarked on the (National Literacy Strategy (England);
engagements with narratives embedded within and to ‘translate’ these into ways of transference of visual detail from the Framework for Teaching p152/3)
popular cultural forms. understanding and producing print text, for moving image text into the children ‘s
example writing from a specific viewpoint/voice, writing: A film version of a traditional story includes these
Overall, then, there is a growing body of research paragraphing, description, style and intonation. ‘The children learnt to interpret a film in the same features and represents them:
worldwide that suggests a negative co-relational same way we interpret a text and that’s ‘ …using episodic narrative, defining settings
effect between media and literacy is not something new. They took all the bits of the in terms of place and time with visual
substantiated by empirical study. The research film they could visualise and talk about and representation of the passage of time. Settings
suggesting other kinds of more positive used them in their writing about the film, and times are enhanced by sound and colours.
relationship between moving image culture I mean all their writing.’ A soundtrack uses recurring motifs to indicate
and print literacy forms the underlying context character, emotion and changes in setting and
for the recommendations in this Guide. story. Clear character expressions allow for
interpretation of characters’ feelings and intent.’
Because moving image texts also offer additional bfi Starting Stories
visual and aural ‘clues’, other elements can be
identified and used to help children understand The bfi’s Starting Stories and Story Shorts
how a text operates. These raise questions that resources use complete short films for teaching
help to talk and write about a text. For example, with children aged, respectively, three to six
what additional information does sound give in and seven to eleven. A short film (in this case
a moving image text? How does music help to 3–10 minutes in length) is used as a shared text
create atmosphere and reflect emotions? What and ‘read’ by the whole class. It is important that
information do sound effects give? What can a complete film is used, so that children can
the morph files | courtesy of bfi stills
dialogue tell us about a character? understand the overall structure of the story
and the functions of its different features Q How does a film tell us about a character?
in context. Follow-up literacy-based activities CASE STUDY CASE STUDY What are the visual and aural clues?
focus on speaking, listening, reading and writing. With a class of five-and-six-year-olds, A group of nursery children watched A Colours associated with the character, how
a three-minute film from the bfi Otherwise, a six-minute film telling the story we are introduced to him/her, close-up
● The concept of narrative is key in linking print compilation Starting Stories was used to of a chameleon who could not change shots that show expressions, a voiceover
and moving image media. By exploring how initiate work on story sequencing. The class colour. The teacher asked the children telling us his/her thoughts, music
a moving image text ‘tells a story’, children watched the film together. The teacher about the places the chameleon had associated with him/her.
use the concrete examples of the visual to initially asked questions about what had hidden, how he felt and what colour he
develop their understanding of the more happened at the beginning of the film, wanted to be, for example grey on the
abstract nature of written narratives. Thus in the middle and at the end. The children rocks, green in the leaves, brown on the CASE STUDY
print literacy and moving image literacy can watched the film again. sand. A class of seven-and-eight-year-olds
exist and be developed alongside each other watched a clip from Matilda (Danny de
to mutual benefit. In groups they were given a still image from The children drew pictures of the Vito, 1996, USA) that showed the character
the film. (In this case the teacher had chameleon and described what the setting of Miss Trunchball. They then watched
Clear parallels between the structure and content photographed the still from the television. was like. actress Pam Ferris being interviewed about
of print texts, picture books and moving image In another class, the teacher reproduced The teacher scribed the children’s ideas her role as Miss Trunchball (Source:
texts, can be used to facilitate analysis and the images by drawing.) Each group talked and created a book telling their own story. Matilda – Escaping into Stories, Film
understanding of: and then wrote about what was happening Education/BBC Learning Zone, 1996,
● Narrative structure and story sequencing; in their image. As a whole class they re- Key terms used: Setting, character. directed by Jane Dickson).
● Scene setting; sequenced the story, placing the images in
● Opening and closing of stories; the correct order. The teacher read back Using information from both viewings they
● Introduction and development of characters. what they had written to create a narrative ● Moving image texts offer great depth for drew their own interpretations of
for the story. literacy work based around character. characters for Dahl's Mr and Mrs Twit.
Thinking about the ‘extra layers’ which visual They wrote descriptions of the characters,
Key terms used: film, still image, narrative. representation adds can enhance children’s including appearance and behaviour. They
awareness of characters and their included these in letters inviting chosen
relationships. Probing questions and focused celebrities to audition for the roles on
viewing result in a deeper understanding: screen.
Q What does character mean?
A Externally – physical appearance, Key terms used: character, role
movement, speech, expressions, clothes.
Internally – what they know, how they feel,
what they think, how they behave towards
other people.
el caminante | courtesy of debra smith
● Encouraging children to question decisions Using moving image texts reinforces the ● Moving image texts can be used as a starting
helps them to understand more fully and gives importance of these elements within storytelling point for poetic writing. They need not be CASE STUDY
them tools with which to shape their own and children can relate decisions about openings, limited to naturalistic or conventional drama A group of teachers working with five- and
writing. Analysing a text helps make meaning narrative, style and endings to their own story in order to generate strong visual and aural six-year-olds, using short films during an
and creates an understanding of how different writing. responses. An abstract film, or one with a INSET session, worked on developing
elements are used for specific reasons. strong soundtrack, can be used as an effective creative responses to Laughing Moon,
Children learn to recognise that, just as an stimulus for writing poetry, or for producing a a short film in which all the characters
author of a written text chooses the words on CASE STUDY moving image text based on a poem. and objects are formed from the shapes
a page carefully, so a film director makes A class of nine-and ten-year-olds watched in a tangram. After watching the film, they
important decisions to lead a viewer through the opening sequence of Babe (Chris identified shapes and sounds and chose
a story: Noonan, 1995, Australia). They discussed words to describe the sounds and the way
● Why are scenes placed in a certain order? the importance of openings and endings to the shapes moved.
(Consider how the meaning of a story a story. They focused on how the opening
would be changed if scenes were swapped sequence conveyed the information that The teachers worked on three writing
around.) the viewer needs to know in order to activities. One group drew an outline of
● How does lighting contribute to mood understand the film. In groups, the class their chosen shape and wrote their poem
and atmosphere? (Look at the use of then studied the use of title graphics, within the outline, describing how that one
highlights and shadows in a dramatic sound, lighting, colour and camera angles shape had moved and what it had become
scene.) in detail. in the film. The second group wrote shaped
● How can colour be used to emphasise poems using adjectives, eg in a spiral form,
meanings or themes? (Think about Each group talked about how the different a triangle, wavy line or zigzag pattern. The
symbolic uses of colour, eg a red dress, elements of film language added meaning third group chose individual words such as
a predominantly orange/brown setting.) to the story. They used these ideas as a long, curly, spiky, round, and formed the
● How do music and sound effects add to basis for storyboarding the opening letters in a way that reflected the shape eg
the meaning of a scene? (Consider how sequence to their own film adaptation of A big and curly typographic style:
sound can contribute meanings that aren’t The Story of the Dancing Frog (Red Fox
‘shown’ in the images: emotional states,
menace, off-screen events.)
● Why are certain shots used? (Discuss
For literacy-based work with moving image media classroom (see also Chapter 6). But by analysing CONCLUSION REFERENCES
to be successful and to develop into sustainable moving image texts on the basis of repeated Watching a film can powerfully engage children. A Dyson, (1996) ‘Cultural constellationa and
and progressive learning it must be embedded viewings, and looking for deeper meaning, They do not need to have mastered the childhood identities: on Greek Gods, cartoon
within whole school planning and accepted children interact with moving images in ‘mechanics’ of reading in order to understand heroes, and the social lives of schoolchildren’,
as an integral part of the curriculum. increasingly sophisticated ways. what they are seeing on a screen. A barrier is Harvard Educational Review, vol 66, no 3.
removed and their understanding, imagination M Mackey (1999), ‘Popular culture and
Several teachers involved in projects using and appreciation take centre stage, along with sophisticated reading: Men in black’ in English
moving image media in their classrooms have CASE STUDY their natural desire to communicate. Moving in Education, Spring, vol 33 no 1, NATE
commented on the distinctive nature of the work One teacher of seven- and eight-year-olds image texts particularly appeal to those who J Marsh, (1999) ‘Teletubby Tales: Popular Culture
and the often startling results it brings. commented on the way repeated viewings favour a more visual style of learning. Many and Media Education’ in Desirable Literacies,
of a short film text provoked ‘new ways of children can confidently tell you what they saw J Marsh, and E Hallet (eds), Paul Chapman
The following examples illustrate how visual seeing’ which in turn led to more confident and frequently describe it in great detail after only Publishing.
literacy can positively impact upon reading use of language: one viewing, and yet find more to comment on in J Oldham, (1999) ‘The book of the film:
and writing skills: ‘… every time they saw these films they saw second and third viewings. They construct enchancing print literacy at Key Stage 3’,
something different … they understood that meaning and can often offer insightful in English in Education, Spring, Vol 33 No 1,
the same object can represent different things. interpretations of what they have seen. By NATE
CASE STUDY Now they routinely use a thesaurus for new introducing moving image texts as effective D Parker, (1999) ‘You’ve read the book, now make
A key worker in a London nursery, taking words.’ resources for literacy (including oracy) we are the film: Moving image media, print literacy
part in a pilot project using short films with broadening children’s experience of texts and and narrative’, English in Education, Spring,
three- to six-year-olds, observed a distinct encouraging more extensive use of more varied vol 33 no 1, NATE
change in one child’s drawing following the forms of communication. M Robinson, (1997) Children Reading Print and
use of film to stimulate talk about setting. Television, Falmer Press
Since watching films in the classroom all Literacy underpins the whole curriculum. The The National Museum of Photography, Film and
his drawings are now done over a series of more literate children are, the more effectively Television has a classroom activities pack with
pages that he sticks together in order, they will access learning in all curriculum areas. five illustrated photography and video project
which the teacher referred to as being like Given that we have argued in this chapter that ideas for Key Stage 2, including Hoax
a series of shots or scenes from the film. moving image literacy and print literacy are Photography, Making Videos, Light and
closely related, it follows that children’s access to Photography, Reading Pictures, Same Story ...
the whole curriculum will be enhanced if their Different Treatment. £10 plus £1.50 p&p
The kinds of close analysis we are proposing critical and creative skills with moving image Available from NMPFT, Bradford, BD11NQ
here are different from the ways in which media are also well-developed. In the next two Tel: 0870 701 0201
children generally consume moving image media chapters, we show how this can work.
– although they may have favourite videos or
scenes that they have watched repeatedly – and it
second helpings | courtesy of joel simon
may take time to establish this approach in the
anders artig | courtesy of christina schindler
LOOK AGAIN THE FOUNDATION STAGE 21
chapter four
THE FOUNDATION STAGE
This chapter focuses on the analysis and ● An essential ingredient in early learning is
production of moving image media in the the development of knowledge, understanding
Foundation Stage (for children aged three until and skills in communication, language and
the end of their Reception year, or in Northern literacy skills, for these underpin work across
Ireland, until the end of Year 2). It is essential that curriculum areas. Work on moving image
work on media is addressed at this stage, rather media has a central role to play in developing
than waiting until children enter the primary such knowledge, understanding and skills and
phase, for a number of reasons: can build on children’s learning at home
● Many children bring to the nursery setting through this medium.
a vast knowledge of media and already
possess a range of critical skills in relation For all of these reasons, in addition to the
to these resources; it is important, therefore, rationale for such work provided in Chapter 1,
to build upon this knowledge, rather than work on moving image media in the Foundation
ignore it. Stage can make an essential contribution to
● If children are to develop as competent users a range of learning and development
and producers of media material, then this opportunities for children in the early years.
work needs to begin in the early stages of
shrek | courtesy of bfi stills
formal schooling. In England, for example, This chapter is set out to reflect the holistic
the Curriculum Guidance for the Foundation nature of the curriculum in the Foundation Stage. address separately each of the six areas of ● Personal, social and emotional development;
Stage (DfES/ QCA, 2000) recognises the We begin by outlining a number of key principles learning, identified in the Curriculum Guidance ● Communication, language and literacy;
‘stepping stones’ of skills, knowledge, which could underpin work on moving image for the Foundation Stage in England and contained ● Mathematical development;
understanding and attitudes which children media in the Foundation Stage, drawing from in the Desirable Outcomes for Children’s Learning ● Knowledge and understanding of the world;
need to develop across a range of curriculum our knowledge and understanding of how before Compulsory School Age in Wales. These ● Physical development;
areas. A similar strategy needs to be identified children learn in the early years. areas of learning are virtually the same in ● Creative development.
in relation to moving image education. Scotland and Northern Ireland except that in
Because work on film, television and video in the both nations the last two, Creative and Physical We outline ways in which work on moving image
Foundation Stage is very likely to be integrated Development, are combined. The areas are: media may contribute to work in each area and
in the curriculum, reflecting approaches to include case studies of work carried out in
curriculum planning in the early years, we then nurseries and Reception classes.
understanding relating to moving images. PERSONAL, SOCIAL AND EMOTIONAL
The analysis of moving images could be DEVELOPMENT
embedded in activities which involve Work on moving image media has a crucial
production, from experience to reflection, contribution to make to work on this area.
although there will be times when analysis By drawing on children’s own extensive
is the starting point. experience with the medium outside of the
nursery setting and school, practitioners enhance
● Curriculum framework children’s confidence in what they already know.
Work on moving image media in the Foundation
Stage needs to integrate with such work at Key Children have many shared media-related
Stages 1 and 2 (P1-P7 in Scotland). The guidance pleasures, so that work based on media can help
in this chapter provides a starting point for the to develop relationships and create communities
planning of a curriculum which reflects the three of readers. In addition, children learn much about
strands outlined in the Curriculum Guidance for issues relating to citizenship and social skills
the Foundation Stage (England): from moving image media. Films and television
● Provision for the different starting points programmes provide an ideal opportunity for
from which children develop their learning, the exploration of emotions and feelings. All UK
building on what they can already do; curriculum guidance emphasises the importance
filming mavis and the mermaid | courtesy of juliet mckoen
● Relevant and appropriate content that of young children being motivated to learn and
PRINCIPLES ● Play has an important role in early learning matches the different levels of young develop concentration; work on media can offer
The following principles need to underlie any ‘Play’ and ‘work’ are not distinct categories children’s needs; a range of opportunities for this to happen.
work on moving image media in the Foundation for young children and a play-based approach ● Planned and purposeful activity that As suggested in Chapter 1, work on film,
Stage: to work on film, video and television which provides opportunities for teaching television and video is highly motivating
● Experiences in the early years should build facilitates children’s first-hand experience and learning, both indoors and outdoors. and can contribute to the development of
on children’s existing skills, knowledge and with resources, enables them to engage (DfES/ QCA, 2000, p11) a positive disposition for learning.
understanding and be embedded in child- in the learning process and encourages a
centred approaches to teaching and learning positive attitude towards learning in this area. LINKING WITH THE LEARNING STRANDS
Any work on moving image media could draw The case studies in each section below
from children’s vast expertise and experience ● Practitioners should facilitate a holistic demonstrate how work on moving images
in this area. Activities need to be embedded approach to learning has been developed in the Foundation Stage
within first-hand experience. Children should Work on moving image media needs to and linked to each particular area of learning.
have opportunities to explore materials and be embedded in an integrated curriculum,
make decisions, supported by adults who although there will be opportunities for
baboon on the moon | courtesy of christopher duriez
know how and when to intervene. focused work on the skills, knowledge and
Links to Curriculum Guidance for the Foundation Links to Desirable Outcomes for Children’s
CASE STUDY CASE STUDY Stage (England) Learning before Compulsory School Age (Wales)
In a nursery class, three- and four-year- olds In a nursery school, three- and four-year Children should be able to: By the time they are five, the experiences that
engaged in discussion about their favourite olds planned and made their own video Early learning goals children have had should enable them to:
films and television programmes. They films. They were asked to make a film ● Continue to be interested, excited and ● Concentrate for lengthening periods when
explored which parts of these programmes which captured their favourite things about motivated to learn; involved in appropriate tasks;
made them feel sad, happy and so on. They the nursery, to show new children who ● Be confident to try new activities, initiate ● Explore and experiment confidently with new
found partners who liked the same films as might want to join the nursery. The children ideas andA speak in a familiar group; learning opportunities (p6).
them and then shared information about planned their video on paper first, using ● Maintain attention, concentrate and sit ● Communication, language and literacy
how they watched the film, when, who with drawings of the shots they wanted to quietly when appropriate (p32). Skills, knowledge and understanding across
and what they liked about it. capture eg the water tray. The children were all areas of learning are underpinned by
then shown how to aim a digital video Links to Curriculum Guidance for Pre-school communication, language and literacy and so
camera, frame a shot and turn the camera Education (N. Ireland) most activities focused on moving image
on and off. All of the children involved in Appropriate opportunities should be provided in media are bound to develop children’s
this activity demonstrated motivation, pre-school education for children to develop competence in this area.
persistence in the activity and the ability to personal and social skills, values and attitudes
concentrate for long periods of time. They (p13). There are, however, particular ways in which work
also learned a range of technical skills on film, television and video can enhance
related to the use of the digital video Links to Curriculum Framework for Children learning in the communication, language and
camera and the following key vocabulary Three to Five (Scotland) literacy curriculum. Firstly, as stated in Chapter 1,
was introduced: Children should learn to: young children come to the nursery setting and
digital video camera, shot, cut, close-up, film. ● Express appropriate feelings, needs and school already having spent many hours
preferences; watching television and film. They have learned a
● Persevere in tasks that at first present some range of vocabulary from this experience, linked
Learning outcomes of moving image media work difficulties; to favourite characters, narratives and genres.
● Identification of favourite films and ● Make and express choices, plans and
digital video;
● Use of key words to describe their work eg
Years curriculum and work on moving image key media concepts such as use of lighting Key words introduced: animation, and moving images;
texts can stimulate discussion and debate. and sound effects to denote ‘goodies’ soundtrack, special effects ● Identification of broad categories of intended
● Simply providing children with opportunities and ‘baddies’. For example, the children audience;
to talk about television programmes and films watched particular sequences of goodies ● Identification of features of genre eg news;
they have watched can promote a range of and baddies and then were asked the ● Use of key words in discussing elements
skills and is an important stage in developing following questions: CASE STUDY of film language i.e. cartoon animation,
understanding of the variety of audiences ● Is [name] a goodie or baddie? A group of four-year-old children watched soundtrack, special effects.
and responses to the moving image. ● How do you know [name] is a goodie/ a series of short clips from different genres
baddie? and identified the intended audience, eg Links to Curriculum Guidance for the Foundation
Secondly, as outlined in Chapter 3, there are many ● What does he/she look like? ‘This programme is for grown-ups, little Stage (England)
links between the processes involved in reading ● What is he/she wearing? children,’ etc. They were asked to elaborate Children should be able to
printed texts and moving image texts. These ● What do you notice about the music? on the reasons for their decisions and Blue Stepping Stone
relate primarily to children’s understanding ● What do you notice about the lighting? many drew from their families’ television ● Describe main story settings, events and
of narrative structure, ability to develop ● Where is the camera? viewing patterns, eg ‘Because my mum principal characters;
understanding of characterisation and plot watches it.’ ● Extend their vocabulary – exploring the
and so on. Work on narrative in a range of media meanings and sounds of new words;
is therefore important in developing this ● Use talk to organise, sequence and clarify
Early learning goal Links to Desirable Outcomes for Children’s which incorporates work on the moving image of boys at the expense of girls. Girls also have an
● Enjoy listening to and using spoken and Learning Before Compulsory School Age (Wales) can motivate boys and draw on their expertise in immense interest in work on moving image texts
written language, and readily turn it into their By the time they are five, the experiences that this area. The case study also demonstrates that and such projects can celebrate and extend all
play and learning (p50). children have had should enable them to: such work does not need to focus on the interests children’s skills in this field.
● Listen to a good story;
Links to Curriculum Guidance for Pre-School ● Ask questions and listen to responses; CASE STUDY
Education (N. Ireland) ● Relate the broad thrust of the story; A Reception teacher introduced a topic on superheroes. A role-play area was set up which featured
Language development occurs when: ● Express opinions and make choices (p5). a different superhero each week, eg Spiderman, Wonder Woman and so on. A collection of
● Children have access to a wide variety of play superhero videos were collected and children were asked to compare and contrast the
activities and are encouraged to talk about There has been extensive discussion in recent superheroes in the films, eg their clothing/powers/gadgets/catchphrases. Children also examined
their experiences, ideas, feelings and years about the apparent underachievement of the features of one superhero narrative across a range of media, eg Spiderman film, cartoon,
achievements to one another and to adults boys in language and literacy. It is important to book, comic and computer game. Children were then asked to invent a new superhero and to
during the course of their play(p18). recognise, however, that not all boys develop a storyboard for the opening title sequence of their superhero films, after watching and
underachieve in this area – only particular groups discussing numerous examples. Gender issues were addressed in this work, eg the teacher
Links to Curriculum Framework for Children of boys. Boys from more affluent socio-economic discussed with children the range of female superheroes they knew such as Xena and Supergirl,
Three to Five (Scotland) groups (for example, groups 1 and 2, using the children were encouraged to invent female superheroes as well as male and girls were given
Children should learn to: National Statistics Socio-economic ‘girl only’ time in the role play area. The teacher also facilitated discussions about the role of
● Listen to other children and adults during Classifications) generally demonstrate higher violence in superhero narratives and the children identified that different people had different
social activities and play; attainment than girls from the least affluent responses to this violence. The children then developed non-violent versions of superhero stories.
● Pay attention to information and instructions socio-economic groups (Gillborn and Mirza, The theme generated a great deal of enthusiasm across the class but it was noticeable that boys
from an adult; 2000). Gender, ethnicity and class all contribute who previously lacked motivation in relation to language and literacy activities were particularly
● Talk to other children or with an adult about to the attainment profile of particular cohorts of keen to join in. Many of these boys were particularly knowledgeable about media texts and
themselves and their experiences; students in this area. Nevertheless, work on enjoyed sharing this expertise with other children.
● Express needs, thoughts and feelings with moving image media can be particularly
increasing confidence in speech and non- appealing to boys and orientate them towards
verbal language; curriculum activities relating to communication,
● Use language for a variety of purposes, for language and literacy specifications. In addition,
example, to describe, explain, predict, ask boys often draw from their experience of moving
questions and develop ideas (p16). image texts outside of school in their schooled
writing practices, and teachers could usefully use
this interest to extend aspects of language and
literacy in Early Years settings and classrooms.
The following case study indicates how work
Learning outcomes of moving image media work ● Talk about themselves, for example, where learning of new skills. In addition, children’s
CASE STUDY ● Recognition of various production roles, eg they live, the members of their extended gross and fine-motor skills can be enhanced as
A Reception class were engaged in a topic scriptwriter, camera operator, director; family and events in their lives both past they learn to control a camera or use a mouse
on the weather. They watched and ● Understanding of how films have changed and present (p21). and keyboard.
discussed a range of televised weather over time, eg use of colour, special effects;
reports. A television studio was set up in a ● Identification of features of genre, eg weather Links to Curriculum Framework for Children
corner of the classroom, with a camera set reports; Three to Five (Scotland) CASE STUDY
up on a tripod, facing a map of the UK on ● Planning and shooting short sequences on Children should learn to: A group of nursery children were invited to
the classroom wall, and the children wrote digiAtal video. ● Ask questions, experiment, design and make, make a film which promoted safety in the
and filmed their own weather reports. and solve problems; outdoor area. They suggested a range of
Links to Curriculum Guidance for the Foundation ● Recognise patterns, shapes and colours in the sequences which could be shot, eg a child
Stage (England) world around them (p24). running without watching where others
Children should be able to were, riding a bike in a dangerous way and
CASE STUDY Blue Stepping Stone Links to Desirable Outcomes for Children’s so on. They discussed when close-ups
The parents of nursery children were asked ● Describe simple features of objects and events Learning before Compulsory School Age (Wales) would be needed, eg a shot of a knee with
to bring in videos of their children as (p86); By the time they are five, the experiences that a cut, which could happen if a child fell
babies, if they were available. Children then ● Know how to operate simple equipment children have had should enable them to: off a bike.
watched the films, which included home (p92); ● Begin to find out about outcomes,
videos of family weddings etc. and nursery ● Begin to differentiate between past and problem-solving and decision-making; Key vocabulary introduced included:
staff initiated discussion on how the use of present (p94); ● Begin to understand the use of a variety camcorder, shot, close-up, long shot.
film helped families to capture treasured Early learning goals of information sources (for example:
moments and document changing lives. ● Look closely at similarities, differences, books, television, libraries, information
patterns and change (p88). technology) (p7). Learning outcomes of moving image media work
● Begin to know about their own cultures and ● Understanding of the role of FVT in providing
A Reception class watched excerpts from Links to Curriculum Guidance for Pre-School suggests that ‘Physical development in the production eg shot, close-up, long shot.
two original films and their remakes – The Education (N. Ireland) foundation stage is about improving skills of co-
Parent Trap and Miracle on 34th Street. They Children need opportunities to: ordination, control, manipulation and
discussed the differences in the two ● Make models, for example in construction; movement’ (DfES/ QCA, 2000, p100). Work on
versions in both cases, eg use of colour, ● Put things together in variety of ways, for moving image media can relate to this area of
music, clothing. example, in creative or constructive learning in a number of ways. The production of
play (p20); films can involve the development of children’s
● Talk about the weather and the seasons awareness of themselves and others within a
at appropriate times during the year; confined area. It can develop perseverance in the
Links to Curriculum Guidance for the Foundation Links to Desirable Outcomes for Children’s Learning outcomes of moving image media work
Stage (England) Learning Before Compulsory School Age (Wales) CASE STUDY ● Understanding of the role of soundtrack in
Children should be able to: By the time they are five, the experiences that After watching a variety of films and FVT;
Blue Stepping Stone children have had should enable them to: discussing the soundtrack effects, nursery ● Awareness of some aspects of the marketing
● Understand that equipment and tools have to ● have an awareness of their own bodies and children were given some musical and publicity of FVT to audiences.
be used safely. (p114) their growth; instruments. The soundtrack of a film
Early learning goals ● understand, appreciate and enjoy the they were watching was turned down in Links to Curriculum Guidance for the Foundation
● Show awareness of space, of themselves and differences between running, walking, a particularly dramatic sequence and the Stage (England)
others (p106); skipping jumping, climbing and hopping (p7). children were asked to produce their own Children should be able to:
● Recognise the importance of keeping healthy soundtrack for this sequence. Early Learning Goal
and those things which contribute to this CREATIVE DEVELOPMENT ● Recognise and explore how sounds can be
(p110). There are a range of obvious links between this changed (p122);
area of learning and work on moving image ● Use their imagination (p124);
Links to Curriculum Guidance for Pre-School media. Children can experiment with and explore CASE STUDY ● Express and communicate their ideas,
Education (N. Ireland) a range of materials as they make puppets and A Reception class created puppets and a thoughts and feelings by using a widening
Progress in learning: Children … have developed props for films, create animations, develop backdrop and then developed puppet range of materials (p126).
an awareness of space and of others …They advertising material for films and so on. Music is shows which were filmed. Children then
understand simple rules and can use tools integral to filmmaking and children can be developed advertising posters for their own Links to Curricular Guidance for Pre-school
and equipment appropriately and safely (p15). encouraged to explore a range of sounds films after examining film posters used in Education (N. Ireland)
creatively as they analyse and develop cinemas. ● Children should have opportunities to work
Links to Curriculum Framework for Children soundtracks. Role-play has a central part to play with materials of different textures which will
Three to Five (Scotland) in enhancing creativity and developing offer them sensory experiences. They should
Children should learn to: imagination and, as outlined in a number of the be encouraged to make pictures and models.
● develop an awareness of space; case studies, moving images can be central in ● Children should…create their own sounds
● be aware of the importance of health and promoting various kinds of role-play, both as the using percussion instruments (p16).
fitness (p37). content of films produced by children and as a
means of exploring further the narratives Links to Curriculum Framework for Children
encountered in commercial productions. Three to Five (Scotland)
Children should learn to:
● Use role play or puppets to recreate and invent
situations;
● Use instruments by themselves and in groups
REFERENCES
D Gillborn and HS Mirza (2000), Educational
Inequality: Mapping Race, Class and Gender,
anders artig | courtesy of christina schindler
London: HMSO.
chapter five
MOVING IMAGES ACROSS THE CURRICULUM
The curricula in Scotland and N orthern Ireland thearea as a whole,and we then provide a grid
are grouped into five broad areas,butin England which m aps m oving im age activities and
there are stillten distinctsubjects.Forlogic and outcom es on to subject-based learning
sim plicity,this chaptergroups a range of objectives.The latterare notlisted in detailfor
curriculum subjects into three areas,which everyUK curriculum ,butindicative pointers are
approxim atelycorrespond across allUK prim ary provided to indicate com m on ground.This
curricula: chapterdoes notaddress English,which is
● Creative (i n Scotland,Expressive Arts and discussed in Chapter3,orM athem atics where
PhysicalEducation;in N orthern Ireland, there is verylittle currentexperience in m oving
Creative,Expressive and Physical im age work.
D evelopm ent);
● Investigative (i n Scotland,Environm ental This chapteris notdifferentiated byage phase or
Studies;in N orthern Ireland,The W orld keystage.The Scottish 5–14 G uidelines provide a
Around Us); usefulsum m aryofthe characteristics that
● Moral and Personal (i n Scotland,RE and underpin expected progression as children
M oralEducation;in N orthern Ireland, approach secondaryage:
PersonalD evelopm ent). ● Knowl edge willbecom e m ore detailed;
● Rel evantvocabularywillbe widened;
M oving im age m edia are ofvalue in theirown ● The abi lityto see patterns and to generalise
right,as partofourculture as wellas being willdevelop;
‘m otivating’in relation to prescribed curricular ● N ew knowl edge and understanding and skill
learning.Anylearning is enhanced when our developm entwilladd and enrich previous
criticaland creative skills with m oving im ages are learning;
welldeveloped,because so m anyofthe facts, ● Understandi ng ofabstractideas and
stories and ideas available to us are circulated principles willincrease;
through the m oving im age m edia. In each of ● The num berand range ofcontexts and
these three curriculum areas,therefore,we exam ples willwiden in space and tim e;
outline the ways in which m oving im age ● Pupi ls willdem onstrate increasing
tadpole and the whale | courtesy of bfi stills
education can be seen as an integralpartof independence in theirlearning.
In the contextofm oving im age education,this CREATIVE SUBJECTS M anym oving im age texts suitable foryounger M oving im age editing is usuallyconsidered,by
could m ean that,as theym ove nearerto (Art, Design, Technology, ICT, Music, Drama and children are anim ated.This form offilm m aking is those who have notdone it,as m erelythe process
secondarytransfer,pupils willgain: Physical Education) thus extrem elyfam iliarto children from both bywhich the differentelem ents ofa m oving
● Wi derknowledge ofm oving im age texts:from Creativityis often thoughtofas an inherenttalent television and cinem a.Itis also som ething that im age text(shots,sounds and m usic)are ‘put
differentcountries and cultures,different thatpeople possess to varying degrees,that can be accessed in the classroom ,and allows together’,like assem bling a flat-pack wardrobe.It
periods and differentgenres; sim plyneeds to be allowed space to express itself children to have totalcontrolovereverything that is a m uch m ore creative process,akin to writing
● Abi lityto work m ore independentlyon tasks orfind an ‘outlet’,and thatis identified with the appears on screen. Anim ation com bines orpainting in the waythatm eaning is ‘carved’
such as planning and editing; arts.Butithas been wellargued thatcreativity elem ents ofArt,D esign,Technology,M usic and outofm anyconstituents.D ifferentcom binations
● Increased abi lityto ask analyticalquestions can be fostered and developed,and is a crucial ICT to create m eaning.Anim ation activities can are tried and discarded,and unexpected
aboutm oving im age m edia and expanded elem entofeverykind ofhum an endeavour include shortand sim ple paper-based exercises m eanings em erge.Itis thus a process thatgives
criticalvocabulary; (N ACCCE,2000).People are creative in response as wellas m ore com plexproductions.There are children a chance to view m aterialcriticallyand
● A m ore sophi sticated understanding of to challenges and difficulties,when theyfind new an increasing num berofsoftware packages think abouthow im ages and sounds can be
audience (abilityto generalise aboutdifferent ways ofdoing things ornew ways of available to schools thatofferchildren in prim ary m anipulated to create m eaning foran audience.
groups and speculate abouttheirlikely com m unicating.Itis creativitythathelps the schools the opportunityto design,storyboard N ow thatincreasinglyeasy-to-use m oving im age
preferences); m athem atician to work outa new form ula,as well and editm oving im age m aterials. editing software is available,editing is one ofthe
● Som e devel opm entofideas aboutownership, as helping the com poserto create a new m elody. bestways ofengaging children in genuinely
forexam ple ‘who would payforthis and why?’; From theirearliestyears,children experience the M usic is a particularlyim portantelem entofa creative ICT activity.
● Increased abi lityto articulate ideas aboutthe outcom es ofcreative activityin the m oving im age m oving im age text.Forallaudiences,itis often
relationship between m oving im ages and m edia everyday,from anim ated logos and the m usic that‘m oves us to tears’,terrifies us or To enable children to explore the creative
realityand the likelyintentions ofproducers, television advertisem ents to full-length keeps us in suspense throughouta film orTV possibilities ofm oving im age m edia,itis
differentiating between whatis ‘m ore real’and narratives,both fictionaland non-fictional.They dram a. Form anylearners,the realisation ofhow essentialthattheyhave opportunities to see
whatis ‘less real’; have a rightto understand how these creative powerfullythe m usic directs ourinterpretation of awiderrange ofm aterialthan theyare likelyto
● Increased abi lityto identifyand com m enton products are m ade and circulated,and to have m oving im age m edia is a revelatorym om ent, access on TV orattheirlocalvideo store or
patterns ofrepresentation,forexam ple,of theirown creative opportunities in these m edia. where the creative possibilities ofm anipulating m ultiplex.In Chapter8 we offersuggestions for
gender,ethnicityand age; the m eaning ofim ages through sound are finding film s and video than willchallenge
● A wi derfram e ofreference in society, suddenlyopened up. children as wellas delighting them .You willneed
recognising issues related to personal to referto Chapter2 forexplanations ofthe Basic
responsibilityand citizenship. Teaching Techniques (BTT)m entioned below
(Freeze fram e,Spotthe shots,Sound and im age,
Top and tail)
W O RKIN G W ITH M O VIN G IM AG ES IN CREATIVE SUBJECTS
MOVING IMAGE ACTIVITIES MOVING IMAGE ACTIVITIES OUTCOMES /ASSESSMENT OPPORTUNITIES IN MOVING
IMAGE AND SUBJECT LEARNING
ART AND DESIGN
● Exploring and developing ideas (English N C); Pupils can Pupils should be able to
● Understanding and investigating (W elsh N C); ● W atch Laughing Moon from bfi Starting Stories orTrain of Thought from ● Understand thatsim ple shapes can be m oved to form patterns
● Investigating visuallyand recording (Scottish 5–14 G uidelines); bfi Story Shorts.Use Freeze frame to focus on particularm om ents. and thatm usic can directinterpretations;
● Investigating and realising in artand design (N ICurriculum ); D iscuss how shapes are m oved into patterns and how these
● Knowledge and understanding (English N C). m ovem ents relate to the m usic.Express responses and
interpretations;
● Undertake a range ofani m ation techniques (eg line drawing,cut-out ● D evelop planning skills eg storyboarding and character
characters and painted backdrops,m odelanim ation)to m ake short developm ent;creative skills in drawing and m odelling;anim ation
anim ated sequences; techniques;
● Usi ng the basic them e ofa single colourorshape,take video orstill ● D evelop:
im ages ofthings having thatcolourorshape,and use editing software ● abstracti deas
orscan the im ages into PowerPointto m ake a sequence and add ● team work and pl anning
m usic orcom m entary; ● cam era techni ques
● edi ting techniques;
● W hen watching a video on the work ofan artist,use Freeze fram e and ● G ain m ore detailed understanding ofprocesses and awareness
Spotthe shots to analyse techniques in m ore detailand discuss how ofthe decisions involved in docum entaryfilm m aking;
theyare represented. ● Understand thatthe style and m ovem entofgraphics,
and thechoice and tim ing ofsound,can com bine to produce
apowerfulim pact.
ICT
● D eveloping ideas and m aking things happen (English N C); ● Use PowerPointto prepare a ‘hom e page’to representthe class, Pupils should be able to
● Creating and presenting (Scotland 5–14 G uidelines); the schoolorthe neighbourhood,with a single im age,graphics ● D evelop PowerPointtechniques;
● Sorting and preparing inform ation (N ICurriculum ); and sound;
● Com m unicating and H andling Inform ation (W elsh N C). ● Use sim ple m oving im age editing software such as Apple iM ovie 2 ● Understand how sounds and m usic can transform the m eaning
orM icrosoftM oviem akerto add new sound effects and m usic to a ofa m oving im age sequence;
shortvideo sequence (BTT:Sound and im age); ● Learn im portance ofaccuracyin tim ing sound in relation to
im age;
● Use editing software to assem ble a given series ofshots into a ● Use basic editing skills;
sequence,and trim as required. ● Understand how the sequencing ofshots can create a narrative;
● Learn basic logic ofsequencing such as eye-line m atch;
● Understand the im portance ofsound in ‘anchoring’m eaning;
● D evelop knowledge ofediting software.
MUSIC
● Listening,and applying knowledge and understanding ● Use Sound and im age (BTT)with anyshort(eg 60 seconds) Pupils should be able to
(English N C); m oving im age sequence where m usic and sound are used in ● Understand thatsound m akes a strong contribution to the
● Breadth ofStudy(English N C); interesting ways; m eaning ofm oving im ages;
● Perform ing,com posing and appraising (W elsh N C); ● W orking in groups who each have the sam e m oving orstillim age ● Understand thatdifferentkinds ofm usic can create different
● Com posing,perform ing,listening and responding (N I sequence to use (in PowerPointorsim ple m oving im age editing m eanings from the sam e sequence ofim ages;
Curriculum ); software),each group tries adding theirown choice ofm usic to the ● D evelop the idea of‘m ontage’ofboth sound and im age,as a
● Investigating,exploring sound,evaluating and appreciating sequence; wayofexpressing localorpersonalidentity;
(Scottish 5-14 G uidelines); ● Identifyand record sounds thatevoke a particularplace ortim e ● Explore the extentto which m usic can enhance ordistortan
● Creating and developing m usicalideas and com posing skills and create a stillorm oving im age sequence to go with them ; existing film ;
(English N C). ● W atch a shortfilm thathas no m usic soundtrack (eg Growing in bfi
Story Shorts)and develop a m usic com position to augm entor
change the them e;
● W atch a m usic video and discuss how the im ages affect ● Understand thatim ages can have a strong im pacton the way
interpretation ofthe m usic; listeners interpretand respond to m usic.
● Im porta favourite m usic track to sim ple editing software and add a
stillorm oving im age sequence.
W O RKIN G W ITH M O VIN G IM AG ES IN CREATIVE SUBJECTS
MOVING IMAGE ACTIVITIES MOVING IMAGE ACTIVITIES OUTCOMES /ASSESSMENT OPPORTUNITIES IN MOVING
IMAGE AND SUBJECT LEARNING
DRAMA
● Create and sustain roles individuallyand when working with ● W hen using dram a activities such as hotseating,stillim age or Pupils should be able to
others;com m entconstructivelyon dram a theyhave watched thought-tracking,photograph keym om ents,and use Kar2ouche or ● Learn thatim ages provide a new perspective on perform ance;
orin which theyhave taken part(English N C); PowerPointto sequence the im ages and add sound to presenta ● Im prove planning and group work byusing the traileras a fram e
● Breadth ofstudy– listening (English N C); ‘trailer’forthe dram a; ofreference;
● Investigating and experim enting,using language,creating ● Using Freeze fram e (BTT),watch a shortdialogue sequence (eg ● N otice thatsom e shots do notshow the speaker,butthe
and designing,com m unicating and presenting (Scottish 5-14 from Mavis and the Mermaid in bfi Story Shorts)and identifythe reaction ofthe listener;and thatchanges offram ing orangle
G uidelines); differentways this can be film ed (eg two-shot,alternating close- can em phasise em otions such as surprise,uncertaintyetc;
● Talking and listening (N ICurriculum ); ups etc);
● Listening skills and language developm ent(W elsh N C). ● Storyboard a dialogue sequence (eitherspeciallywritten ortaken ● Learn how to use film techniques as an integralpartofdram atic
from a book orplay)to show how cam era angles,fram ing and representation,ratherthan m erelyas a wayto ‘record’
editing would be used to enhance perform ance in a film ed version. perform ance.
TECHNOLOGY
● W orking with tools,equipm ent,m aterials and com ponents ● W atch a film thatuses m odelanim ation (eg Second Helpings in bfi ● Learn basic techniques and requirem ents ofm odelbuilding for
to m ake qualityproducts (English N C); Story Shorts)and note keyfeatures offigures and props.Create anim ation;
● M aterials,tools and processes (N ICurriculum ); basic arm ature with pipe cleaners and build a characterwith ● Learn how to work outchange ofscale and develop close
● D esigning and m aking skills (W elsh N C); Plasticene thatcan stand up byitself,can hold specific m ovem ents observation to create believable replication;
● Skills in designing and m aking (Scotland 5–14 G uidelines). ofarm s,legs and head,and can change facialexpression; ● D evelop creative ingenuitywith a range ofm aterials and editing
● D esign and build sets,props and figures foran anim ated sequence techniques.Learn thatsound effects can enhance believability
thatcom bines long shots and close-ups – therefore requiring ofspecialeffects;
som e item s (eg hand,watch,eye,gun,doorwayetc)to be created ● Learn thatsequencing,m usic and sound effects can help
on differentscales; disguise the transition from m odelsetto live action.
● Children work outhow to show specific effects in anim ation,eg Find m aterials (eg polystyrene,ashes)and lighting effects that
watersplash,rockettaking off,frog transform ing into a prince,etc; can convincinglym im ic elem ents ofan outdoorscene;
● D esign and build convincing setforthe opening ‘wide shot’to set ● Learn the im portance oflighting in creating m ood and
the scene fora live dram a,eg graveyard,desert,m ountainside,castle; atm osphere,especiallywhen com bined with m usic orsound
● Use table lam ps,reflectors and m asking to lighta live-action effects.
dram a scene effectively(eg crim e,horror)and video orphotograph
the results.
INVESTIGATIVE SUBJECTS
(Science, History, Geography, ICT)
Arguablyallsubjects involve investigation and
the collection ofinform ation,butwe have chosen
to group togetherH istory,G eography,Science
and the inform ationalaspects ofICT,where the
provision and interpretation ofinform ation are
particularlyvital.These subjects require the
developm entofskillsin interpreting,understanding
and evaluating facts,ideas and opinions.M oving
im age m edia,such as educationalbroadcasts,
are often used in these subjects as a wayof
providing inform ation,and even where theyare
not,children bring with them from hom e the
experience ofwatching news,docum entaries and
indeed fictionalnarratives thathave provided
them with inform ation,som e ofitaccurate,som e
not.The betterchildren are atinterpreting
m oving im ages,the betterwillbe their
developm entofsubjectknowledge.
SUBJECT-BASED LEARNING OBJECTIVES MOVING IMAGE ACTIVITIES OUTCOMES /ASSESSMENT OPPORTUNITIES IN MOVING
IMAGE AND SUBJECT LEARNING
SCIENCE
● Scientific enquiry(English and W elsh N C); ● Aftercom pletion ofan experim ent,each group has to discuss and These activities will
● M aking and using appropriate observations then recording agree whatthe m ain outcom es were.Theypresenttheirfindings to ● G enerate scientific reasoning and language;
findings in a varietyofways appropriate to the task (Scottish cam era.Theycan choose to am end,editand re-record before their ● Build up an individualand class record and resource;
5–14 G uidelines); findings are presented to the class fordiscussion and appraisal; ● Teach appropriatewaysofpresentinginform ation in m ovingim ages.
Pupils can:
● M aterials and theirProperties (English,N Iand W elsh N C); ● W atch a TV cookeryprogram m e and discuss how the processes of ● Understand thata film does notneed to show the whole
● Changing M aterials (Scotland 5–14 G uidelines); change to the ingredients are shown.Photograph orvideo key process:onlykeym om ents;
● PhysicalProcesses (English and W elsh N C); m om ents in the preparation and m aking offlapjacks,em phasising ● Extend theirscientific language and articulate hypotheses with
● Life Processes and Living Things (English and W elsh N C); the state ofeach ingredientbefore m ixing orheating and then greaterconfidence;
● Living Things (N ICurriculum ); show the resultafterwards.Use PowerPointorsim ple m oving
● Properties and Uses ofEnergy(Scotland 5–14 G uidelines); im age software to create a shortsequence and add com m entary.
● Light(N ICurriculum ). ● D raw characters and then ani m ate a single m ovem ent ● D evelop close observation ofm ovem ent;
(eg walk,fall,jum p)byusing a flick book orzoetrope. ● Understand the process ofpersistence ofvision.
● D raw im ages on glass slides orsandwich differentm aterials in ● Understand how the processes ofm agnification change the
slide m ounts;ordraw im ages on acetate O H P sheets;project appearance ofcolours and textures;
these im ages on screens using differentlengths of‘throw’; ● Explore properties ofopaque and translucentm aterials;
● Understand how to focus an im age and how to achieve different
effects from differentdistances between lightsource and
screen;
● M ake cut-outfigures and attach sticks forsupport;setup a screen ● Understand how softand sharp focus is governed bythe
and lighting to create a shadow puppetshow. relationship between lightsource,objectand screen.
HISTORY
● H istoricalenquiry; ● W atch exam ples of‘actuality’film and ‘phantom rides’showing Pupils should be able to
● Victorian Britain (English N C); trains and road traffic from bfi Film as Evidence: Britain in 1900; ● Understand constraints and expectations offilm m aking in 1900
discuss how and whythese film s were m ade and identify and find outhow film s were shown and seen;
differences in transportbetween then and now; ● Closelyobserve ofevidence oftransportand behaviour;
● Plan and write com m entaries forone orm ore ofthese film s in the ● Understand thatfilm s in 1900 were never‘silent’but
style ofa fairground ‘explainer’; accom panied bycom m entary,sound effects and m usic;
● Britain since 1930 (English N C); ● Interview (on audio orvideo)olderpeople who can rem em berfilm ● Learn techniques ofinterviewing;
● Life in M odern W ales and Britain (W elsh N C); going in the 1940s and 1950s,and the introduction oftelevision. ● D iscoverbestway(s)offilm ing an interview;
● Changes in life during the lastcentury; Use editing software to editand assem ble im ages and sound in a ● Learn aboutchanges in m edia consum ption in the 20th century;
● Life during the war; shortpresentation; ● Learn aboutthe role and value ofm em oryand rem iniscence in
● Life in the 50s and 60s (N ICurriculum ); historicalenquiry;
● D evelop editing skills and learn to selectsalientitem s;
● Localhistorystudy(English N C); ● Use photographs orvideo to record aspects ofthe localarea in the ● D evelop investigative skills and research techniques;
● A historicaltopic in a localcontext(W elsh N C); past;use PowerPoint,Kar2ouche orediting software to add ● Increase historicalresearch skills and begin to define
● Localhistory(N ICurriculum ). com m entaryand produce a shortpresentation; m ethodology;
● Arrange a viewing ofm aterialon a particularthem e from a localor ● D evelop m edia production skills;
RegionalFilm Archive;find outfrom the archivistaboutwhathas ● Learn aboutfilm as a source ofevidence aboutthe past,and the
been preserved and why;discuss differences and sim ilarities problem s in preserving and interpreting this evidence;
between ‘then’and ‘now’. ● Learn aboutwhatpeople in the pastthoughtworth recording.
W O RKIN G W ITH M O VIN G IM AG ES IN IN VESTIG ATIVE SUBJECTS
SUBJECT-BASED LEARNING OBJECTIVES MOVING IMAGE ACTIVITIES OUTCOMES /ASSESSMENT OPPORTUNITIES IN MOVING
IMAGE AND SUBJECT LEARNING
GEOGRAPHY
● G eographicalenquiryand skills (English and W elsh N C); ● Look atguidebooks (and videos iftheyexist)ofthe localarea. Pupils will be able to:
● G eographicalskills; Using a m ap,decide keypoints ofthe localarea where visual ● D evelop theirproble-solving skills;
● H om es and buildings; illustration would be usefulorinteresting to a visitor.Use ● Justifytheirchoices;
● The naturalenvironm ent(N ICurriculum ); photographs orvideo to record im ages atthese keypoints and use ● Explore the relationship ofm aps and im ages to realplaces and
PowerPointorediting software to create a two-m inute localguide the value ofeach as a record orguide.
with com m entaryand sound effects;
● People and place:the hum an environm ent(Scotland 5–-14 ● W atch a holidayprogram m e and a docum entaryaboutthe sam e ● Explore the relationship between representations and reality
G uidelines); countryorarea.D iscuss whateach type ofprogram m e highlights and the construction ofdifferentkinds of‘truth’;
● Knowledge and understanding ofplaces (English N C); and whattheyom it.From othersources (internet,textbooks and ● Considerwhetheranyrepresentation can everbe com pletely
personalexperience where available)research and storyboard a ‘true’;
film orm ultim edia presentation aboutthe countryorarea; ● Learn aboutthe m otivations and constraints ofdifferentkinds
ofrepresentation;
● Knowledge and understanding ofenvironm entalchange and ● Identifya specific environm entalissue with localrelevance (eg ● Learn to selectsalientitem s fora specific purpose.M ake
sustainable developm ent(English N C); pollution,road building etc)and find outm ore aboutitfrom the judgm ents aboutvalue and credibilityofevidence.D evelop
● Recognising… the need forconservation ofthe environm ent Internetand othersources.Create a one-m inute cam paigning m edia production skills.Learn aboutissues oflegalityand
(Scotland 5–14 G uidelines). video orm ultim edia presentation on this issue. appropriateness in persuasive presentations.
MORAL/PERSONAL LEARNING OBJECTIVES MOVING IMAGE ACTIVITIES OUTCOMES /ASSESSMENT OPPORTUNITIES IN MOVING
IMAGE AND SUBJECT LEARNING
G
● Learning aboutdeath and bereavem ent,and how people ● W atch Mavis and the Mermaid from bfi Story Shorts and discuss the Pupils will be able to:
reactto them ; issues raised bythe film ; ● Explore how ‘real’and ‘im aginary’ideas and events can be
● Personalexpression and listening to others; ● Provide a private ‘diaryroom ’or‘voxpop’experience where shown on film and how we can tellthe difference;
children can talk to the cam era individuallyorin pairs and express ● Learn thatspeaking to the cam era is differentfrom speaking to
theirown opinions on a specific topic. Playback and discuss a person;
differentofpoints ofview; ● See and heara range ofviews in a m ore objective and distanced
context;
● Responsible behaviourand m oralchoices; ● W atch an episode from a popularsoap opera and use sim ple ● Identifythe m oralrules thatguide soap opera,and how these
questioning and dram a techniques such as ‘hot-seating’to explore are shown (eg punishm entofwrongdoing,roles of‘positive’
questions such as: characters in providing judgm ent,etc);
● H ow did thatcharacterfeelwhen… ? ● D evelop techniques ofclose analysis ofm oving im age texts;
● H ow could you tellbythe waytheyspoke/how theylooked?
● W hydid A speak to B like that?
● W hatdo you think m ighthappen in the nextepisode?
● Attitudes to ethnicity,socialgroups and gender; ● Use a data projectororwhiteboard to involve the whole group in ● D iscuss and evaluate the extentto which m oralorintellectual
creating ‘avatars’forcom putergam es.D iscuss how different attributes reallycan be shown physically,and whythis m ightbe
attributes are represented visually,and considerwhetherdifferent necessaryin a gam e environm ent;
kinds ofattribute oughtto be m ade available; ● Explore the relationship between gam e characters and real
people,and considerhow itwould affectthe entertainm ent
● Representation ofdisability; ● W atch Better or Worse? from the bfi’s Disabling Imagery? – resource value ofgam es ifgam e characters could be m ore ‘real’;
on m oving im age m edia and disability– and discuss the film ’s ● D evelop awareness thataudience interpretations m aydiffer,
attitude to the centralcharacterand hervisualim pairm ent. and thatreasons forthis can be explored;
● Explore whatcan be m eantby‘positive’and ‘negative’
representations.
REFERENCES
N ationalAdvisoryCom m ittee on Creative and CulturalEducation (N ACCCE)(2000)All Our Futures: Creativity, Culture and Education,paras 25,and 50–53.
chapter six
MANAGING TEACHING AND LEARNING ABOUT THE MOVING IMAGE
Some teachers are developing work with moving easier if the school can make enough basic
image media more or less on their own. investment to ensure that:
Sometimes it is pioneered in one curriculum ● Screens in classrooms are positioned so that
area. However, in an increasing number of they do not reflect light from windows
schools it is possible to address this work across or overhead lights;
the whole school and in its community context ● Blinds are installed if necessary;
as well. Strategies for planning, recording and ● VCRs have efficient pause and frame facilities
implementing moving image work can be (or, even better, use DVD players;)
discussed by staff and perhaps with governors ● Each set of equipment includes a good
be consolidation for some children, while list or prompt to focus attention. You could image work to be undertaken by each year
others may be doing extension work based on therefore consider the following techniques in If you are just embarking on the introduction of group;
the whole class lesson. your planning: moving image education, subject coordinators ● Produce a grid for each term, which shows
● Break the screening down into short could look at the planning for each curriculum year groups, subjects and where moving
■ Small group work: sections, each prefaced with a key learning area across year groups and see where ongoing image activities have been integrated to
Moving image texts generate productive and question, which can be discussed in small work could be enhanced or extended. provide an overview;
lively discussion, so it is important to provide groups; ● Design recording sheets which include
time for sharing responses and discussing ● Provide pupils with transcribed extracts, Suggestions would then need to be brought reference to the moving image work
different perspectives. You could prepare shot lists, sound bites or still images to to the group as a whole in order to secure undertaken, its aims and outcomes, and pupil
small groups to focus on specific details which they can refer after the screening; a balance. self evaluation;
LOOK AGAIN MANAGING TEACHING AND LEARNING ABOUT THE MOVING IMAGE 42
LOOK AGAIN MANAGING TEACHING AND LEARNING ABOUT THE MOVING IMAGE 43
video were saved. Parents learned to look expertise which parents and governors can
for ‘involvement’ when their children were bring to the school;
participating in play on film and the clips ● Making contact with local secondary schools,
LOOK AGAIN MANAGING TEACHING AND LEARNING ABOUT THE MOVING IMAGE 44
LOOK AGAIN BECOMING CINELITERATE – LEARNING PROGRESSION 45
chapter seven
BECOMING CINELITERATE – LEARNING PROGRESSION
Because little consistent and continuing moving and teachers about what real learning
image education currently takes place in schools, progression based on actual classroom practice
there is a lack of a shared and explicit sense might look like. This model is necessarily
of the standard of work that might be expected hypothetical, but it can be a useful starting point.
at different stages. Anecdotal evidence suggests One area it does not cover is the Foundation
that similar kinds of moving image activity may Stage and the bfi will be working with teachers in
be required of pupils at widely differing age levels, this phase on the basis of Chapter 3 in this guide.
with similar results. Teachers’ ideas about
appropriate levels of challenge in either critical This model covers five stages of learning, which
or creative moving image work tend to be derived can be mapped on to the stages of mandatory
from their experience elsewhere in the curriculum and post-16 education, but the model can also
rather than from continuing experience of be seen as non-age-specific and all learners
moving image activities with pupils of different would to some extent pass through these stages.
ages. This is not surprising, given the general lack It is also a cumulative model: learners in Stage 5
of in-service training and advisory support for any would still be using the same key words and
kind of media education. doing the same kinds of activity that were
identified at Stage 1, but in a context of more
This chapter offers a model that we hope may sophisticated usage and wider viewing experience.
stimulate thinking about how pupils’ learning
might be expected to progress over several years No curriculum content is shown here: this is not
if their moving image education were to be a course or a syllabus. For the sake of
sustained consistently. It is based on the model conciseness and simplicity the model uses quite
first published in Making Movies Matter, a report general terms and is very basic. It is divided into
for the Department of Culture, Media and Sport two broad sections at each level:
from the Film Education Working Group (1999). Experiences and activities, which provides
It has also been included in the bfi’s guide for an indication of the range of inputs learners
secondary teachers, Moving Images in the would need, and
Classroom. The bfi has been using this model Outcomes, which describes what learners
wallace and gromit – a close shave | courtesy of bfi stills
as a basis for discussions with advisers, trainers should be able to do by the end of the stage.
The model is based upon three broad conceptual STAGE 1: Becoming cineliterate Producers and audiences
areas, for which a more detailed rationale can be EXPERIENCES AND ACTIVITIES ● Use credits, video covers and posters
found on page 49: Pupils should have opportunities to: to identify titles and actors’ names, likely
● The language of moving images – focusing ● See a wide range of film, video and television audience category, and theme or genre;
on the ways in which moving image texts are (FVT) from different world cultures including ● Identify broad categories of intended
internally constructed; different styles of animation, live action audience, eg ‘this is for little children’,
● Producers and audiences – exploring the ways drama, adventure, musical, abstract, factual, and give reasons;
in which moving image texts are made and documentary; short films and features; ● Identify common features between FVT, book
delivered to audiences; historical and contemporary, home videos; and game versions of generic texts, eg myth,
● Messages and values – concerned with the ● Access moving images in different ways, fairy tale, space adventure etc.
interpretations of the world offered by moving eg cinema, video, television, video games,
image texts and the effects these may have. CD-ROM; Messages and values
● Talk about out-of-school FVT viewing, ● Identify and talk about different levels
To evolve into a really useful guide to teaching responses and preferences; of ‘realism’, eg naturalistic drama vs
and learning, this model needs critical ● Talk about content and structure of short cartoon animation;
engagement from practising teachers. This can video sequences while teacher uses pause ● Use key words to refer to elements of film
only happen where schools are able to invest button to encourage and enable close language when explaining personal responses
in the necessary time for reflection and analysis, observation of composition and framing; and preferences;
which of course will depend on very particular ● Use VCR, camcorder, and ICT software for ● Identify devices such as flashback, dream
circumstances. Future resources and training sequencing and making animations. sequences, exaggeration – discuss why they
provided by the bfi will use this Guide as a frame are needed and how they are conveyed.
of reference, and the bfi will continue to OUTCOMES
undertake research and development in the field Learners should be able to: In addition they should be able to:
of moving image education for younger children. Language ● Use VCR to find and repeat short sequences
This guide has been supported by the DfES ● Identify and talk about structuring features of FVT to support analysis and discussion.
and the bfi is also seeking dialogue with the such as music, changes in location, ● Work co-operatively with others to discuss
Departments of Education in the other UK interior/exterior settings, actors and or make moving image sequences;
nations to find ways of developing and following presenters; ● Use ICT software to sequence still or moving
up the possibilities set out in this model and in ● Use key words to refer to elements of film images to tell story or convey information;
the rest of this Guide. language when describing events in a story; ● Transfer a narrative sequence from
● Use key words in talking about character one medium to another, eg poem
types, as well as referring to clues such to film/photo story; film sequences to written
as dress, casting, performance etc. text or cartoon strip;
● Add music or commentary to a moving image
tadpole and the whale | courtesy of bfi stills sequence.
STAGE 2: Becoming cineliterate Producers and audiences STAGE 3: Becoming cineliterate Producers and audiences
EXPERIENCES AND ACTIVITIES ● Use key words to distinguish between different EXPERIENCES AND ACTIVITIES ● Identify and distinguish between a wider range
Pupils should have opportunities to: moving image delivery systems; Pupils should have opportunities to: of production roles;
● See a wide range of FVT including more ● Identify and distinguish some production ● See a wide range of FVT including examples ● Explain basic differences between processes
complex narratives, more from pre-1950 roles, using key words; of different national cinemas of different of pre-production, production,
and silent periods, films from different ● Suggest reasons why different people may historical periods, examples of major directors post-production and exhibition;
cultures including subtitled films, and have different responses to the same FVT text; and significant ‘movements’; ● Use key words to explain some of the ways
non-narrative and experimental films; ● Explain why some FVT may cost a lot of money ● Watch and discuss sequences which have FVT are marketed and promoted to audiences;
● Watch and discuss sequences that build to make. ambiguous elements or do not have a clear ● Identify and discuss factors that may
impressions or emotional effects, eg montage; narrative resolution; contribute to success of a FVT text, eg star,
● See different versions of the same story Messages and values ● Through analysis and practical activity, explore genre, theme.
or event; ● Use key words to identify ways in which FVT ways in which small editorial changes can
● Watch/listen and discuss the use of music, can show things that have not ‘really’ effect meaning (eg slight change of timing of Messages and values
voices, sound effects and silence in short happened, eg violence, magic; a cut); ● Use Key Words to explain how social groups,
sequences; ● Explore reasons for and against censorship, ● Look at and discuss publicity material for films events and ideas are represented in FVT;
● Watch and discuss how continuities age classification and the broadcasting and have opportunities to make posters, press ● Explain and justify aesthetic judgments
and discontinuities in space and time are ‘watershed’. packs, trailers etc; and personal responses. Argue for alternative
conveyed in FVT (eg in chase sequences); ● Use interviews and questionnaires to find out ways of representing a group, event or idea.
● Watch and discuss sequences in which In addition they should be able to: about audiences choices and preferences.
characters are presented non-verbally (eg ● Read subtitles; In addition they should be able to:
through camera position, lighting, costume, ● Plan and shoot short sequences on video OUTCOMES ● Use ICT to draft, create and manipulate
music etc). using more than one point of view, eg a person Learners should be able to: moving image and sound sequences;
entering a room; one person meeting another; Language ● Use online and print resources to access
OUTCOMES a chase; ● Use key words to identify and discuss information about films;
Learners should be able to: ● Create animated sequences on film, video differences between FVT genres; ● Use credits, packaging and publicity material
Language or ICT or in an optical toy such as a zoetrope. ● Explain how meaning is created through to identify key information about a film’s
● Describe how sound contributes to the overall editing of image and sound; production.
meaning of a moving image sequence, using ● Explain some of the ways in which film styles
is constructed.
STAGE 4: Becoming cineliterate OUTCOMES STAGE 5: Becoming cineliterate ● Describe the economic organisation of FVT
OUTCOMES EXPERIENCES AND ACTIVITIES Learners should be able to: EXPERIENCES AND ACTIVITIES institutions and the relationship between
Pupils should have opportunities to: Language Pupils should have opportunities to: producers, distributors, exhibitors
● See a range of FVT that both consolidates ● Identify and describe some major FVT styles ● Use ICT to explore expressive/communicative and audiences.
and extends existing viewing experience and narrative forms, using Key Words; potential of specific FVT styles;
in terms of genre, directors, national cinemas ● Explain how elements of FVT styles may ● Consolidate viewing experience and Messages and values
mainstream and non-mainstream, historical relate to technologies, eg portable cameras, background knowledge of two or three aspects ● Use key words to discuss and evaluate
periods, and television productions from editing software. of FVT, eg a genre, a director’s work, ideological messages in mainstream FVT
different countries; a movement, a national cinema, texts;
● Find out more about different modes of FVT Producers and audiences a technological innovation; ● Describe and account for different levels
production, eg industrial/mainstream vs low- ● Identify and discuss some of the factors ● Read and discuss some critical approaches of realism in FVT texts;
budget independent; in the production process that may effect to FVT, eg auteur, genre, realism, audience, ● Explain relationships between aesthetic
● Have opportunities to relate FVT knowledge the final shape and meaning of a FVT text; effects, representation etc; style and social/political meaning.
to other cultural fields, eg literature, history, ● Describe some of the risks and costs involved ● Undertake independent research, using FVT
fine art, music etc; in FVT production, distribution and exhibition; texts, online and print sources, and live In addition they should be able to:
● Investigate a topic, using FVT text, online ● Explain some of the possibilities and interviews where appropriate. ● Assemble research findings into clear
● Use Key Words to discuss and evaluate Language audiences and purposes in specific styles
FVT texts with strong social or ideological ● Explain how FVT styles and narrative forms and genres;
messages. can relate to authors, production context, ● Develop independent judgments about the
Rationale
LANGUAGE
Each medium has its own system of conveying
meaning, although schools have concentrated
mainly on the medium of print. But over the last
100 years, the moving image medium of film
has developed a particularly powerful language,
which is now also used by television, video and
computer software. The ways in which images
are framed, sequenced, paced and combined
with sounds – music and sound effects as well
as words – have become a highly significant
component of the information, stories and
ideas we encounter every day. Everyone should
have the chance to learn about how the moving
image media create meaning. It is a basic skill
of cineliteracy to be able to refer to devices such
as framing, camera angle or editing easily and
baboon on the moon | courtesy of christopher duriez
meaningfully in discussion and in critical writing.
People of any age learn this most easily when they courted in many different ways, although their MESSAGES AND VALUES or economic – on other individuals and groups.
have opportunities to make and manipulate these real interests and responses can be very hard Film and television can affect our emotions Everyone should be able to explore the relative
devices in their own creative work. to identify. Everyone should be able to make and our ideas. There are many theories about realism of different moving image texts and
informed choices about their consumption the effects of the moving image and opinion have learned to distinguish between literal
PRODUCERS AND AUDIENCES of moving image media, learning how to identify is fundamentally divided as to the real extent meanings and underlying themes. Learners
Now that there are so many different sources their sources and the interests they serve. By of its power to affect behaviour. However, we all should have the chance both to see and to create
of communication it is an increasingly important recognising that they themselves are members know that we can be moved, entranced, angered, moving image texts in a variety of modes from
element of basic citizenship for people to be able of audiences and larger social groups, learners delighted or bored by film and it is important documentary and dramatic realism to fantasy
to identify where messages are coming from can think about how their own interests relate to explore these responses and be able to justify and non-narrative forms.
and what motivates them. It is not enough to the ways they are defined by others. They them. Particular texts or types of text may have
simply to be able to interpret or create moving should experience the excitement and power ongoing effects on our ideas, values and beliefs: REFERENCES
image texts. The moving image media are huge of producing their own moving image texts we need to consider whether this is the case, Film Education Working Group (FEWG), 1999,
industries and films are commodities, and these should be seen and discussed by how it happens and whether it matters. It is also Making Movies Matter, bfi
bought and sold by competing multinational real audiences. important to think about how we might assess Downloadable from
companies. Audiences are targeted and the potential effects of the moving image – www.bfi.org.uk/education/strategy/mmm
whether these are aesthetic, moral, political
kirikou and the sorceress | courtesy of bfi stills
LOOK AGAIN RESOURCES FOR TEACHING AND TRAINING 51
chapter eight
RESOURCES FOR TEACHING AND TRAINING
This chapter lists some of the agencies that six-year-olds within the context of
provide support for teaching and learning about literacy (forthcoming);
the moving image for children aged three to 11. ● Story Shorts A video compilation of five
For many of these agencies their main focus is complete and unusual short films
on older learners (secondary school/youth and and teachers’ book for use with seven- to 11-
above); but all those listed here have some track year-olds within the context of literacy;
record of interest in the foundation and primary ● Bag of Rice Iranian feature film (VHS video);
phases. This is a rapidly developing field, so ● The Boy Who Stopped Talking Dutch feature
we have concentrated on providing website film on video (VHS video);
addresses wherever possible so that you can ● Kirikou and the Sorceress French/Senegalese
check for more up to date information. animated feature film (VHS video and
DVD forthcoming).
CLASSROOM RESOURCES
The British Film Institute publishes a range For more detail on bfi resources visit:
of classroom resources, books, videos, DVDs www.bfi.org.uk/education/resources
and the monthly magazine Sight and Sound, The website also includes a number of free
which includes reviews of all films released downloadable resources.
each month in the UK. As of 2003, the bfi’s
resources for the younger age range include: Film Education’s study resources (many of which
● Show Us A Story! A listing and guidance on are free) include film-specific CD-ROMs and
16 recommended feature films for primary educational online resources, study guides,
schools, which are commercially available television programmes, study videos, plus new
on video; materials on digital video editing. Resource titles
● Now Showing A listing of 280 feature films for primary schools include:
suitable for under-12s, with plot summaries ● Film and Literacy Parts 1 and 2 Part 1 covers
● Fantasy and legends ● Macromedia Flash and Director are industry Film editing
● Films around the world multimedia tools ideal for intermediate users. ● Apple iMovie (now in version 3) is very good
● Myths and legends starting point for stop frame animation. but very versatile PC-based non-linear editor
● Page to screen All software is supplied with the camera, which also allows animation through a firewire
● Primary film and Shakespeare including an easy to use editing package. link to camera.
● Special effects The camera can also be used for video-
toy story | courtesy of bfi stills
● Using your local cinema. conferencing;
Image manipulation microphones are inadequate and nothing ruins and plug-in effects for iMovie, Final Cut Pro,
● Apple iPhoto provides a basic photo viewer and your filming as much as bad sound. Lights (even QuickTime player and other editing software.
presentation tool; angle-poises) give that extra clarity and contrast. ● http://www.apple.com/trailers/
● Adobe Photoshop is a fairly sophisticated photo Useful resource containing free downloadable
manipulator, but ideal for intermediate users. Nice if you can get it QuickTime clips and trailers from recent
● DVD player releases and less recent classics.
Hardware ● Video/DVD projector ● http://education.guardian.co.uk/digitalvideo/
As specifications change constantly we are not DVD is increasingly the medium of choice for The Guardian newspaper’s education
giving brand names and product detail here, providing a high quality moving image. It is also supplement on Digital Video in Education.
but simply a guide to the range of equipment you much easier to search for the bit you want to A useful starting point for those interested in
should try to acquire. analyse or re-show, and the ‘extras’ can also be using moving images in the classroom.
useful. The more powerful the projector, the First published November 19th 2002.
Essential better and brighter the image: a factor to consider
● Apple Mac or PC computer with editing in big-windowed classrooms. SOURCES OF INFORMATION AND ADVICE
software: even without a camera you can still There is an increasing range of support for digital The British Film Institute is funded by the
undertake moving image production work on video work in schools, including: government through the Film Council and its role
your computers; ● N Theodosakis, (2001) The Director in the is to foster and develop the cultural and
the boy who stopped talking | courtesy of bfi stills
● Video cassette recorder with good still-frame Classroom: How filmmaking inspires learning, educational status of moving image media in the
facility: essential for all critical analysis of San Diego, CA: Tech4Learning Publishing. UK. Its education staff provide a wide range of ● www.bfi.org.uk/showing/regional/index.html
moving image media; use as large a monitor For over a decade, Canadian filmmaker, Nikos events at the National Film Theatre and other – to find films currently showing at the
as possible and position it to minimise lights Theodosakis, has worked with students venues, publish classroom resources, provide national film theatre and at 20 regional
reflected on the screen. and teachers from kindergarten to college teacher training, undertake research into effective independent cinemas around the UK;
exploring how to use filmmaking in the teaching and learning, develop new approaches ● www.bfi.org.uk/gateway/categories – the bfi
Desirable classroom. His book looks at how the to moving image education, and argue for the National Library’s film links gateway with links
● Digital video camera filmmaking process translates into the value of moving image education with policy- to a wide range of selected websites relating to
● Tripod classroom as a series of learning makers across the UK. Its website of more than film and media, including access to what’s
● External microphone opportunities and suggests strategies 8,000 pages provides a huge range of available on video and DVD;
● Lights on secure, stable stands. for successful video projects. Comes with information. Key pages include: ● www.bfi.org.uk/nationallibrary/olib/
a CD-Rom of useful resources. ● www.bfi.org.uk/education/resources/ index/html – search the catalogue of the bfi
A camera on its own is not enough for work http://www.thedirectorintheclassroom.com teaching/primary/nowshowing2 National Library, which holds over 42,000
in school. You need to be able to position it ● http://www.apple.com/downloads/ – searchable database version of now showing, books, directories, reports etc relating to film
securely (with the tripod; it can be a good idea macosx/video/ a listing of 280 feature films suitable for and television;
to tape the legs to the floor with ‘gaffer tape’ or Apple Computer’s software resource for video under-12s; ● www.bfi.org.uk/bookvid/index.html – search
other strong sticky tape). You need to be able editing. Contains free downloadable software the bfi’s catalogue of books, videos and DVDs
to pick up sound properly – in-camera available for sale through online ordering.
partnerships with teachers who want their Mpowernet
children to experience the magic of cinema, show www.mpowernet.anglia.ac.uk
films from around the world, including features Part of Anglia Polytechnic University, are
and shorts, and can structure events which funded by the New Opportunities Fund (NOF)
support learning about the language of the as training providers in ICT skills to cross
moving image, tailor-made to support the needs curriculum teachers throughout England.
of your groups.
www.mediaed.org.uk Screen Agencies
Website for teachers, students and anyone else The national screen agencies in Scotland, Wales
interested in media and moving image education and Northern Ireland provide funding for film
in primary, secondary, further and informal production and for cultural and educational work
education. Funded by the bfi and managed by and training related to film. In England, regional
media education Wales in partnership with the screen and media agencies have been established
Northern Ireland media education association in response to the film council's call for a unified
(NIMEA), the Association for Media Education regional funding strategy for moving image
Scotland (AMES) and 'in the picture', the media media. They offer a support infrastructure to
education magazine. the film and television industry, and funding for
cultural and educational work and training. Each
www.media-educ.org organization has an officer with responsibility for
Website of the European online observatory for education.
media education, which collects data on media
shrek | courtesy of bfi stills
education initiatives across Europe and Scottish Screen
Film Education is a registered charity funded by NMPFT offers not only a museum experience but encourages information sharing and www.scottishscreen.com
the film industry in the UK, whose aim is to also events for learners of all ages, screenings, partnerships. Funded by the European Scottish screen is responsible to the Scottish
encourage and promote the study of film and teacher training and film festivals. Commission. parliament for promoting and developing all
cinema within the curriculum. Film education aspects of film, television and new media in
events include national schools film week. Its British Educational Communications and Media matters Scotland through the support of both industry
position as the link between the UK film industry Technology Agency (BECTA) www.becta.org.uk www.netcomuk.co.uk/~media/matters.html and government.
and education enables it to provide up-to-date The government's lead agency on the use of ICT Specialises in designing curriculum materials
film information to teachers and students. See in education, this website reflects the full range and delivering in-service training. The web site Northern Ireland Film and Television Commission
www.filmeducation.org of BECTA’s activities and online publishing includes links to media institutions, links to www.niftc.co.uk
Scottish schools and other media education sites. The NIFTV promotes the growth of film
National Museum of Photography, Film and MOViesThis national network consists of moving and television culture and the industry in
Television – www.nmpft.org.uk Part of the image education specialists who work in cinemas Northern Ireland.
Science Museum, but situated in Bradford, the and at festivals throughout the UK. They develop
activity and in building their audiences, and it is 01843 834290 (South-East England); a catalogue that includes interesting and
always worth approaching your local cinema to Scott cinemas informative articles about aspects of cinema;
explore possible ways in which you could 01626 65368 (West Country); ● Black Star at www.blackstar.co.uk.
BAFTA – www.bafta.org
The British Academy of Film and Television Arts
is the UK's leading organisation promoting and
rewarding the best in film, television and
interactive media.
Moviemap – www.visitbritain.com/moviemap
Part of the British Tourist Authority, this site
provides information on various film locations in
Britain along with information on stars and other
attractions.
A teaching guide to using film and Look Again! provides eight basic teaching Look Again! has been published by The British Film Institute
television with three-to eleven-year-olds techniques for the close study of film and bfi Education, with financial support from
offers you opportunities to
television, a wealth of practical ideas for the Department for Education and Skills.
Film, television, video, web sites and engaging children in analysis of moving To order a free copy email experience, enjoy and discover
computer games are increasingly central image media, and powerful arguments education@bfi.org.uk. more about the world of film
to our culture and society. To be fully for the value of such work in children’s and television.
literate in the 21st century means being learning. It outlines the close connections
able to understand and use these media. between teaching literacy and cineliteracy,
All children should have opportunities details how to engage children in the early
to learn about the media from their years in discussing different aspects of
earliest years in school. moving image media and how to integrate
these activities across the curriculum
This accessible and persuasive guide is in primary schools.
for teachers of children from three to
eleven years old, to help them extend The guide includes advice on how to
and improve the way they use and teach manage teaching and learning in early
about the moving image media. It has years settings, classrooms and across
been developed by a UK-wide team of early the school, a model for learning
years and primary teachers, advisers and progression, and an extensive list of
teacher trainers. further resources and resource providers.