Film education (education)

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The concept of film education, which for a long time was mainly used in the context of extracurricular cultural education, has also established itself for the school task of conveying an appreciative attitude and knowledge base with regard to the medium of film. On the education server Berlin-Brandenburg it can be generalized: "Film education is becoming more and more important, also in the school context", and thus emphasizes the importance of film in our media and information society. Film is now firmly anchored in the framework curricula of many subjects. The Federal Agency for Civic Education has a similar tenor, but emphasizes the diversity of the places of learning : "Film education takes place in a very diverse way and in very different places - in schools, in the cinema, in the museum, at festivals and independent organizations."

A distinction must therefore be made between extracurricular film education (films are used, for example, in church youth groups; on extracurricular concepts of film education see Spielmann 2011, pp. 49–56) and school film education (films are the subject of specialist or interdisciplinary lessons). In both areas it can be classified in the broader context of media education . The reason given in a paper from the "Länderkonferenz Medienbildung" (country conference on media education):

“Film is the leading narrative medium for children and young people. The medium is important to them as a feature film and as a television format, as a feature film, documentary and animation film, music and art video, advertising film, mobile phone film, web clip, etc. In the course of digitization, they encounter film in the form of new and new ones the latest moving image media. Due to the increasing convergence of the media, moving images have long since ceased to be present only at the 'classic' film mediation site of the cinema, at singular venues or in the medium of television, but are available in a spatiotemporal way. Children and young people try out and handle the most varied of audiovisual forms of expression, use them creatively and creatively, produce and publish their own films. "

Film education as the promotion of (play) film skills and aesthetic education in the field of audiovisual media

Film education as part of media education imparts film-related knowledge and skills related to the receptive and productive use of this medium, but also aims to maintain and increase the ability to enjoy in the sense of aesthetic education. The competencies can be divided into four areas:

  • Competencies related to film production and presentation (planning and production of films, image and sound processing, film presentation)
  • Competencies related to film analysis (film aesthetics, "film language", film history, film theory)
  • Competencies related to film in the media society (film as an economic factor, its political, social and cultural effects; legal framework)
  • Competencies related to film use (film use, effect and influence, formation of taste and judgment).

All four areas of competence together cover the cultural field of action film. It is not just a matter of providing adolescents with knowledge with the help of which they can understand, assess and, as it were, play on the field of action, but in this context also expressly promoting the ability to perceive and aesthetic experience and thus the cultural meaning and to appreciate the aesthetic achievement of the medium.

Film education in individual school subjects

After a curricular draft for subject-based film lessons, the teachers of the PH Freiburg i.Br. (cf. Fuchs / Klant / Pfeiffer / Staiger / Spielmann 2008) are the most important (not the only!) subjects of school film education German, art and music, to which in fact essential (not all) competence expectations can be divided. On the whole, the educational task of film education can only be solved by integrating the subject, which is why the draft of a “subject of school film education” in Kepser (ed. 2010) is consistent and helpful, insofar as the action and production-oriented methods of film education described in detail there in different, with it related subjects would be usable. According to an empirical study by the same author (2008a), however, high school graduates in Germany are most likely to have acquired cinematic knowledge, if at all, in the subject of English. H. neither in German nor in one of the artistic subjects involved, so to speak, originally responsible for an aesthetic medium. This discrepancy between normative claims and empirical reality shows how far the school is from actually fulfilling the legitimate expectations of film didactics and media education, especially since the study was limited to (approx. 700) high school students and was specific to other types of schools Surveys would be necessary. In the subject of German, film didactics that are predominantly focused on the so-called literary film adaptation must be overcome (cf.Lorenz Hrsg. 2010) and thus the abandonment of a book-film comparison that rarely really does justice to the medium of film (for criticism cf. Maiwald 2013 or Abraham 2016). Concepts such as Kammerer's “Filmgenre-Werkstatt” (2008) or Krämer's scenic interpretation concept “SpielFilmSpiel” (2006) show that a broader approach is necessary, but also possible. Although such concepts have been around for a long time, their practical implementation in school reality is largely still pending. The same applies to considerations about a film canon for school education.

Inter- or transcultural film education

Film education can only be described as "intercultural" if one assumes the existence of different, clearly distinguishable cultures. According to this approach, with the help of the critical incidents concept from foreign language didactics, it can be seen in feature films when a character is irritated by communicative misunderstandings or behavior that is difficult to interpret and in their (self) understanding that is shaped by their own culture. The figure has to correct or expand its culture-bound ideas and behavioral habits, and the viewer can learn from this (see the article on intercultural learning ). Following this concept, e.g. B. Heidi Rösch and staff present a list of intercultural youth films that can be worked on in a film-making way. The clash of different cultures can then become a topic in a study group using films such as Detlev Buck's “ Knallhart ” (2006) or Fatih Akin's “ Soul Kitchen ” (2009).

However, this approach has not gone unchallenged. Cultures are no longer separated (as the term interculturality implies) by gaps, i. H. clearly distinguishable from each other. The concept of transculturality, as it is u. a. Wolfgang Welsch understands, therefore rather describes the movement of people through cultural areas. According to this concept, cultural contacts are an everyday matter of course and are also treated that way in many feature films. Matthis Kepser (2015) proves this with an extensive list of feature films: Transculturality in this sense characterizes films as diverse as “ Lights ” by Hans-Christian Schmid (2003), “ Le Havre ” by Aki Kaurismäki (2011) or “ Das Mädchen Wadjda ” by Haifaa al-Mansour (2012). A distinction must be made between three perspectives, under which transculturality can be fruitful for film education: with regard to the film scene , the production and the reception of a film.

In this context, multilingualism in feature films is of particular importance . On the one hand, films offered in multiple languages (through “ dubbing ” or subtitling ) are now the rule, on the other hand, more and more films take up the transcultural reality and already contain several languages ​​at the film level that are no longer (as for a long time in Hollywood cinema) through artificial monolinguality replaced, but spoken more or less authentically. In Hans-Christian Schmid's episode film “Lights” and Marc Forster's “ Kite Runner ” (“The Kite Runner”, 2007) playing on the German-Polish language border (in Frankfurt / Oder), Abraham (2015) shows how such films are made for an inter - or transcultural film education can be made usable without the film lessons being limited to the level of film events (the “plot”).

literature

  • Ulf Abraham : Cinema in the classroom. Classic films for children and young people in German lessons. In: Praxis Deutsch 175 (2002), pp. 6-18.
  • Ulf Abraham: Intercultural Film Education and Multilingualism in Fiction. In: Claudia Kupfer-Schreiner, Annette Pöhlmann-Lang (Ed.): Didactics of German as a Second Language - Teaching and Learning DiDaZ in Bamberg. A balance sheet of the subject in research and teaching. University of Bamberg Press, Bamberg 2015, pp. 29-44.
  • Daniel Ammann, Katharina Ernst (eds.): Experience film: cinema and video in school. Pestalozzianum, Zurich 2000.
  • Alain Bergala: Cinema as Art. Film mediation at school and elsewhere. Edited by Bettina Henzler u. Winfried Pauleit. Schüren-Verlag, Marburg 2006.
  • Lukas Bleichenbacher: Multilingualism in the movies. Hollywood characters and their linguistic choices. Francke, Tübingen 2008.
  • Gabriele Blell, Andreas Grünewald, Ingo Kammerer, Matthis Kepser, Carola Surkamp (eds.): Film in the subjects of language education. Schneider Verlag Hohengehren, Baltmannsweiler 2016.
  • Helene ceiling-Cornill, Renate Luca (ed.): Young people in film - films for young people. Media pedagogical, educational theory and didactic perspectives. kopaed Munich 2007.
  • Mechthild Fuchs, Michael Klant, Joachim Pfeiffer, Michael Staiger, Raphael Spielmann: Freiburg film curriculum. A model of the research project "Integrative Film Didactics". In: Der Deutschunterricht 60 (2008), H. 3. pp. 84–90.
  • Natalia Hahn: Film education in the German and DaF didactic field of action: a contrastive perspective. In: Tina Welke, Renate Faistauer (Hrsg.): Film in DaF / DaZ lessons. Contributions of the XV. IDT. Praesens Verlag, Bozen; Vienna 2015, pp. 13–38.
  • Wolfgang Hallet: What does film literacy mean? Understanding films and foreign language discourse skills. In: Gabriele Blell, Andreas Grünewald, Ingo Kammerer, Matthis Kepser, Carola Surkamp (eds.): Film in the subjects of linguistic education. Schneider Verlag Hohengehren, Baltmannsweiler 2016, pp. 175–191.
  • Jens Hildebrand: Film: Advice for teachers. 2nd, improved edition. Aulis-Verlag, Cologne 2006.
  • Alfred Holighaus (ed.): The film canon. 35 movies you need to know. Berz + Fischer, Bonn 2005.
  • Peter Holzwarth: Intercultural Film Education. Objectives - questions - methods. In: Ludwigsburg Contributions to Media Education 11, 2008, 10–14.
  • Peter Holzwarth: Migration in Film. In: Björn Maurer u. a. (Ed.): Media education in a changing society. FS for Horst Niesyto. Munich: kopaed, Munich 2013, pp. 57–88.
  • Ingo Kammerer: Film - Genre - Workshop. Film didactics in German with a systematic foundation of text types. Schneider-Verlag Hohengehren, Baltmannsweiler 2009.
  • Ingo Kammerer, Matthis Kepser (ed.): Documentary film in German lessons. Schneider-Verlag Hohengehren, Baltmannsweiler 2014.
  • Matthis Kepser: Film education in German schools. Nil? Feature film use - Feature film knowledge - Feature film didactics in the 2006 Abitur class. An empirical survey. In: Didaktik Deutsch 24 (2008), pp. 24–47.
  • Matthis Kepser: Do we need a film canon? A proposal for an internal school initiative. In: Der Deutschunterricht , H. 3 (2008), pp. 20–32.
  • Matthis Kepser (ed.): Subjects of school film education. With numerous suggestions for action and production-oriented lessons. Kopaed, Munich 2010, pp. 39–54.
  • Matthis Kepser: Transcultural education with film in German lessons. A cultural-scientific exploration of the field of action. In: Christian Dawidowski, Anna R. Hoffmann, Benjamin Walter (eds.): Interculturality and transculturality in drama, theater and film. Literary studies and didactic perspectives. Peter Lang, Frankfurt am Main 2015, pp. 77–106.
  • Michael Klant, Raphael Spielmann: Basic course in film: cinema, television, video art. Materials for Sec. I and II. Schroedel, Hannover 2008.
  • Felix Krämer: SpielFilmSpiel. Interpreting film in the context of literary didactics and media education. kopaed, Munich 2006.
  • Matthias M. Lorenz (Hrsg.): Film in literature lessons. From the early history of film to the symbolic medium of the computer. Fillibach, Freiburg i. Br. 2010.
  • Björn Maurer: Subject-oriented film education in secondary school. Theoretical foundation and pedagogical concepts for classroom practice. kopaed, Munich 2010.
  • Klaus Maiwald, Anna-Maria Meyer, Claudia Maria Pecher (eds.): "Classics" of children's and youth films. Schneider-Verlag Hohengehren, Baltmannsweiler 2016.
  • Raphael Spielmann: Film education! Traditions. Models. Perspectives. kopaed, Munich 2010.
  • Kristina Wacker: Understanding and conveying film worlds. The practical book for teaching and teaching. utb 8696, Stuttgart 2017.
  • Wolfgang Welsch: What actually is transculturality? In: Lucyna Darowska, Thomas Lüttenberg, Claudia Machold (eds.): University as a transcultural space? Culture, Education and Difference in the University. transcript-Verlag, Bielefeld 2009, pp. 39-66.
  • Manuel Zahn: Aesthetic Film Education. Studies on the materiality and mediality of cinematic educational processes. Transcript, Bielefeld 2012.

Individual evidence

  1. ^ Education server Berlin-Brandenburg
  2. ↑ Federal Agency for Civic Education
  3. ↑ See the paper from the country conference on media education on film education 2009
  4. ↑ Country Conference on Media Education 2009, p. 3
  5. ↑ See country conference on media education 2009, p. 5.
  6. ↑ See Länderkonferenz Medienbildung 2009, p. 6 and Bergala 2006.
  7. ↑ See the sketch by Spielmann 2010.
  8. ↑ See e.g. B. Maurer 2010 for secondary and middle school.
  9. ↑ See Kepser 2008b in general or Abraham 2002 and Maiwald / Meyer / Pecher (eds.) On children's and youth films.
  10. ↑ See Kepser 2015, p. 78
  11. ↑ List of intercultural youth films
  12. ↑ See the discussion about this in Kepser, pp. 78–83.
  13. ↑ See Welsch 2009.
  14. ↑ See Kepser 2015, pp. 99-101.
  15. ↑ See Kepser 2015, pp. 88–96.
  16. ↑ cf. the film studies study by Bleichenbacher 2008.