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Educational Offer at Polish Film Festivals Directed to Film Industry Representatives

100%
Lisiecka-Muniak M.
Panoptikum
|
2017
|
issue 18(25)
216-226
EN
The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
2
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Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films

100%
Turczyn K.
Panoptikum
|
2017
|
issue 18(25)
178-190
EN
This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: Mania. The history of a cigarette factory worker (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), Pan Tadeusz ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and Zew morza ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (2008–2014) in the National Film Archive. The aim is to show how knowledge about silent film is communicated to the audience, and how these movies can be used to achieve educational goals/targets. The theoretical framework of this essay is examining the changing function of film archives, where technological change, the possibilities of restoration and digitisation of films contributes to increasing popularisation of audiovisual heritage by film archivists and museums. An essential category in this essay is the authenticity both for the reconstructed film and its presentation. The perception of authenticity often determinates strategies for presentation of this heritage. The article is based on qualitative research (interviews with the audience and workers at the film archive; participant observation, press materials and websites).
3
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Film Canon – Film History – Film Education: Remarks on the Polish Film Museum’s Anniversary Poll

80%
Klejsa K., Jajko K.
Panoptikum
|
2017
|
issue 18(25)
191-214
EN
In 2015, the Film Museum in Lodz, Department of History and Theory of Film at the University of Lodz and the Polish Filmmakers Association worked together on a project “12 films for 120 years of cinema”. Filmmakers and people professionally involved in film culture were asked to compile their 12 best films ever and their 12 best Polish films. The organisers received 279 responses which mentioned 1,348 films in total. After analysing the results, the lists of best movies were published as well as variant lists according to the respondents’ profession and age. The first part of the paper raises questions regarding aesthetic axiology (as far as culture-based text hierarchies are concerned) and social communication (which concerns the question of a canon: who establishes it and for what purpose?). In the second part of the article, the authors discuss the results of the poll, highlighting shortcomings of the project when compared to similar polls in the past.
4
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Training des Hör-Seh-Verstehens im Zeitalter der Omnimedialität des Fremdsprachenunterrichts (Überlegungen zur Qualität von Hör-Seh-Textdidaktisierungen)

70%
Chudak S.
Glottodidactica
|
2013
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vol. 40
|
issue 2
47-63
DE
In our modern media-driven world, the development of audio-visual comprehension is an important goal of teaching and learning foreign languages. Nevertheless, teachers do not work on this goal as effectively as they could, often because the textbooks that they use do not always contain adequate audio-visual content. The didactisation of that content in many cases leaves much to be desired, leaving unexploited potential. The aim of the paper is to review the common task typologies for working with different kinds of films as well as to propose various ways of expanding those typologies, with the ultimate goal to improve learners’ film literacy and intercultural competence.
5

Current Development Trends of Media Literacy in European Union Countries

51%
Petranová D., Hossová M., Velický P.
Communication Today
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2017
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vol. 8
|
issue 1
52–65
EN
The study deals with an investigation into the processes and projects related to the development of media education and media literacy education in the countries of the European Union. The study assesses media education activities in individual EU Member States in terms of various initiatives and projects and their primary focus. The aim of the study is to identify areas of media education and literacy to which European countries devote most attention. The authors aim to summarise and compare projects that have significantly contributed to media education development through their activities towards media education of citizens and improving media literacy in the EU. The text also focuses on extracurricular, non-formal education concentrated around activities and projects outside of the formal education system; those are mainly implemented by companies and non-profit organisations in order to involve selected groups of the population. In the text, the authors analyse secondary data and results of published researches and theoretical studies on the given topic. The introduction provides a brief description of formal, non-formal and informal education in terms of their goals and differences. The authors then characterise the areas of media education by categorising individual types of literacy (including media literacy, literacy involving critical analysis of media content, digital and information literacy, film literacy, news and reading literacy, Internet literacy and online safety, digital game literacy and media communication literacy). Existing initiatives in the EU countries are provided as examples in the identified areas and literacies. The given information is used to create a summary of the current media education activities and the dominant focal points of non-formal education initiatives in individual EU countries. The study thus offers an overview of the types of literacies and organisations actively contributing to the formation of a media literate EU population.
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