Towards a film literacy canon: identification and multicultural analysis of the contents used in film education with pre-university students in Spain

Abstract

In the absence of a state film education plan in Spain, there are numerous initiatives operating in the field of both formal and non-formal education, the aim of which is pedagogy through cinema and about cinema. The European Commission has established the identification of a pantheon of authors of which knowledge is compulsory (canonical competence) as one of the four necessary competencies of this film literacy. This article aims to identify this canon promoted by the entities operating outside the formal curriculum and within the different contexts of non-formal education with early, primary and secondary education students in Spain. For this purpose, 65 entities (N=65) –educational centers, regional programs, museums, film libraries, film clubs, festivals, associations and foundations– have been catalogued and consulted for the first time in the different provinces of Spain. Among the results, 194 film titles and 142 names of directors used by those entities involved in image pedagogy in Spain have been collected. From a multicultural point of view, the analysis of the results points to the promotion of a biological approach to the history of universal cinema, in which national cinematography does not find a place. The primacy of North American and French productions is observed, as well as the absence of images with which to work on historical memory in Spain.

Outside Training of Spanish University Students of Education for the Didactic Application of Cinema: Formal, Non-Formal, and Informal Perspectives

“…However, students, as highlighted by [69], have a weekly habit of consuming films, which can be a way of accessing knowledge of the audiovisual medium. This can also be a stimulus to broaden training through non-formal and informal channels pointed out by several authors [19][20][21][22].…”

“…It is also remarkable the emergence of numerous festivals specialized in films for children and made by children and young people, along with the initiatives in general festivals to promote audiovisual education and the existence of specialized magazines [19,20]. Furthermore, the pedagogical work of public and private entities should be underlined, with special mention of museums and film libraries [21,22].…”

Alfabetización audiovisual en español como L2 a través del cine para alumnado adolescente en inmersión

“…En definitiva, en la enseñanza secundaria, son muchos los retos que se plantean con el aprendizaje del español como lengua vehicular y para la integración social y académica de este colectivo en los centros (Nikleva, 2014(Nikleva, , 2017. Por lo que consideramos que una manera de abordarlos pasaría por introducir la alfabetización audiovisual a través del cine en estas aulas de español L2 (BFI and European Commission, 2013;Herrero and Vanderschelden, 2019;Moya-Jorge, 2019). Ello requeriría una conciencia de los docentes acerca de su utilidad, así como estrategias que faciliten su introducción en el aula.…”

Nurturing youth film literacy: Post-qualitative arts-based inquiry into critical self-awareness

“…Additionally, as a boundary-crossing competence 6,7,8 within the particular South African context of inquiry, film literacy facilitates communication and cooperation across disciplines, culturally defined boundaries and between communities of practice 9,10 members in a non-formal, post-school context. This redefinition of the term film literacy has been inspired by the multiple definitions found in contemporary research, 5,11,12,13 thus situating film literacy in a boundary-crossing position. The process of cultivating students' competencies in the field of film literacy raised fundamental questions about the nature of film literacy, its relevance to education and the nature of the process involved in the student's interaction with the medium.…”