This article is based on close examination of more than 300 films screened at the Amandus film festival for young filmmakers, in the 25 year period between 1987 and 2012. The aim of the article is to highlight some of the most striking developments in this data material – aesthetically as well as thematically. The overall argument is that the Amandus films display a double allegiance to commercial movies, both in terms of their semi-professional cinematic form and in terms of the themes and moral attitudes expressed.
The subject of this article is the films nominated for the Amandus Festival after the turn of the century. It examines how young people present themselves in today’s society and how this relates to distinctive trends in societal development. Our analysis builds on an interpretation of contemporary society as hypercomplex and characterised by choice and uncertainty, calling for a reflexive approach. This is what we have looked for in the films. Films of this kind thematise the way young people relate to this complexity and have a creative and conscious relation to genres, and are thus an expression of the voice of youth.
Based on the ethnographic example of the Reelhood project, this article explores the different discourses of ‘citizenship’ that emerged within a youth filmmaking project for young British Muslims. Using Westheimer and Kahne’s distinction between the competing understandings of ‘citizenship’ that often inform educational interventions, I demonstrate how project funders and organizers proposed a different version of citizenship to that privileged by the young participants. Considering the particular technical, creative and social affordances of filmmaking, I examine whether these different visions were able to be reconciled.
This article explores how policymaking relates to young people’s ability to produce moving images in Norway by connecting the three domains authorities’ incentives and policy-making, youth production practices and availability of production resources and contexts. First, we give an overview of how policymakers have facilitated formal and non-formal contexts for moving image production. Second, we provide a bottom-up perspective, aiming at understanding youth production practices over time in and out of school. By combining a top-down, policy-oriented perspective with a bottom-up practice-oriented perspective, we illustrate how filmmaking as a distinct culture of digital production has been constituted and elaborated in an era of transition from analogue to digital technologies.
This paper presents the Generation Program, a segment for children and teenagers at the Rio de Janeiro International Film Festival (Mostra Geração and Festival do Rio in Portuguese) in Brazil. The authors are members of the curatorial and production team and both belong to GRUPEM (Grupo de Pesquisa em Educação e Mídia) – the Education and Media Research Team linked to the Board of Education of the Pontifical Catholic University of Rio de Janeiro. The considerations produced by the research team contributed to the analysis of this experiment.
This paper prioritizes aspects related to audiovisual production made for and by children and teenagers, but also includes some of the recent history of practices involving cinema, audiovisual material and education in Rio. It also considers some public policies that interfere with the development of audiovisual education with and for audiovisual languages.
This article, building on an extensive summary of the European-scale Experts’ Study on film literacy in Europe 2012, draws attention to two different conceptions of film education: as an (a) entitlement for all, a social good (akin to the entitlement to universal literacy) and as (b) an instrumental means of developing film consumers, or audiences. Based upon a large survey of film education across 32 European countries, the authors give the context of film literacy in Europe three perspectives: (1) The established practice of film educators across all sectors in the member states; (2) the wider arguments about film culture and its importance; and (3) the relation between film literacy and media literacy, especially in the context of the EC’s media literacy initiative. We also reflect at the end on the relation between film education and the affordances, limitations and misconceptions surrounding digital technologies.