The Cinelmotion Project. With the support of the European Commission

Transcription

1 The Cinelmotion Project With the support of the European Commission

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3 All rights are reserved, wether the whole or part of the materials is concerned including the right of translation, re-use, recitation or reproduction. For any kind of use permission of the copyright owner must be obtained. Contact details: EAVI - European Association for Viewers Interests Rond Point Schuman 9/ Brussels Tel: [email protected]

4 What is EAVI EAVI, the European Association for Viewers Interests, is an independent, non-profit, international civil society organisation registered in Brussels as an AISBL - Association International Sans But Lucratif. Background EAVI has been created to facilitate the unifying process of all those who support citizens and consumers interests in the field of media. It was formally established with the support of the European Commission and received a Royal Decree from the Belgian authorities in March Mission EAVI s mission is to serve the public interest in the field of media. Objectives EAVI s primary objective is to promote and enhance the interests of citizens and media users across Europe. Network Civil society organisations, the media industry, educational experts and researchers, public institutions and youth organisations are sharing knowledge and joining forces with EAVI. So far EAVI has an extensive amount of collaboration agreements, covering all 27 EU Member States. Furthermore EAVI is supported by, and cooperating with, the European Commission, the United Nations Alliance of Civilisations, the Council of Europe and UNESCO. Activities To achieve its objectives, EAVI develops and implements a wide range of activities. Much of the initiatives carried out involve citizens and organisations from many of the 27 EU Member States. They focus on the following main areas: 1. Promoting Active Citizenship and Media Literacy EAVI s activities encourage the participation of citizens in the democratic process and aim to contribute to effective communication among them. It is for this reason that EAVI supports the adoption of initiatives which enable citizens to read, write, critically understand and participate with the media in public life. EAVI disseminates the results of its most noteworthy research across Europe. 2. Engaging the interests of European Institutions and media stakeholders EAVI continues to represent citizens in the European public sphere. In order to make a truly significant impact, we have decided to focus our energies on influencing the main industry players and policy decision makers, by way of participation in expert groups, lobbying activities and by participating in international conferences. 3. Consolidating and developing the European Association EAVI also aims to continue in its role as a coordinator of civil society initiatives, enhance its existing network of players in the field, and to develop new means to share knowledge and good practice. We plan to launch a new strategy for municipality membership and to explore opportunities for volunteers and online contributors.

5 Letter from EAVI Secretary General, Paolo Celot Dear reader, It is a pleasure for me to illustrate the outcomes of the Cinelmotion project. The Cinelmotion project brought together a consortium of media institutions and experts from the spheres of media, education and civil society to improve the audience s knowledge of European cinema in Latin America and vice-versa. The initiative provided an opportunity for nourishing international debate and intercultural exchanges on media and film literacy. By reason of its solid grounding in Latin America, Cinelmotion was well placed to facilitate audience awareness. The project has reached an audience of hundreds of thousands. Basic knowledge of foreign works as well as the provision of context and critical understanding contributed to the appreciation of European cinema in Latin America and vice-versa. Cinelmotion in fact aimed to educate, inform and entertain viewers, to enable audiences, and especially young audiences to appreciate films from different territories and cultures. The principal on which the project was based is the production and distribution of three TV magazines. These TV programmes ensured the widespread dissemination of information, film reviews, film literacy and related pedagogical activities. Information on the audiovisual products can be found in this booklet and on the relevant websites (i.e. Cinelmotion.eu and Eavi.eu). The Cinelmotion.eu online platform is now a resource for information on film literacy and materials intended to enable users to access, evaluate and appreciate films from Europe and Latin America. It is available in Spanish and English. Since its launch at the Spanish Senate House in Madrid, the project s activities have been carried out with enthusiasm by numerous contributors who have made Cinelmotion a success and included some promotion at a number of film festivals both in Europe and Latin America. We hope that, because of our determination to reach young audiences, many of the benefits of this project will be long-term. In particular, the television series, by reason of its widespread broadcast, will be likely to provide benefits such as more informed audiences in Latin America on the subject of European cinema. On a personal note, I wish to thank all of those who have contributed to the achievements of the project. I hope you enjoy reading this booklet. Yours faithfully, Paolo Celot

6 Cinelmotion The European and Latin-American cinema in motion Cinelmotion highlights the important role that films play in the promotion of dialogue and mutual understanding between Europe and Latin America. Furthermore, it highlights the power of film as a resource for teaching and promoting media literacy. Nowadays, the cinema is able to attract and capture the attention of audiences despite the ever increasing amount of images and advertisements that the public faces every day. Therefore, cinema becomes a powerful tool to learn about and understand our own society, history, values and culture and also that of others. The Cinelmotion project wants to utilise this opportunity: it includes a series of actions designed to contribute to the recognition of European films in Latin America and Latin American works in Europe in order to enable young audiences to appreciate and participate in an inter-cultural dialogue through cinema. Cinelmotion promotes European and Latin American cinema, providing tools to understand and critically evaluate it. Additionally, it seeks to provide the public with educational tools based on the content of films. In short: European and Latin American film in motion. The Consortium Within the International Media programme of the European Commission, the Cinelmotion Consortium was coordinated by EAVI (European Association for Viewers Interests). The other main partners to develop the project were ATEI (Association of Ibero-American Cultural and Educational Television), Mizar Multimedia, the Ministry of Innovation and Culture of the Province of Santa Fe (Argentina) and City TV (Montevideo, Uruguay). EAVI, the European Association for Viewers Interests, is an independent, not-for-profit international civil society organisation registered in Brussels. The mission of EAVI is to serve the public interest in the fields of media and it has been created to facilitate the unifying process of all those who support citizens and consumers interests in the fields of media. Therefore the EAVI primary objective is to promote and enhance the interests of citizens and media users across Europe. ATEI (The Association of Ibero-American Cultural and Educational Television) is composed of more than 158 institutions involved in educational television, including ministries, universities, NGOs, and over 66 Latin American television channels with the aim of promoting education and culture in Ibero- America. It produces and distributes content via satellite, internet and local networks to more than 21 Latin American countries, the United States, Canada and Britain. Mizar Multimedia is a company specialised in the development of audiovisual, interactive and print campaigns, and educational and cultural material. It has established learning methods for publishers around the world. Its work on media literacy has been very active, promoting, as well as other things, the Mentor Association for Media Education in the Mediterranean area. It has also collaborated with the Alliance of Civilizations of the United Nations and with UNESCO. The Innovation and Culture Ministry, of the Government of Santa Fe in Argentina, promotes, amongst other things, the National Film Festival for Residents and Short Stories Festival. It encourages the use and knowledge of media for educational purposes and increases the capacity of expression in the population of Argentina in collaboration with associations and large companies in the audiovisual and communications sectors (Excebiei Entertainment, Arts Argentina, Audiovisual Education AVE, etc.). City TV from Montevideo, Uruguay, has direct access to its domestic audience and has the capacity to disseminate its media through Latin TV, ensuring the visibility of the materials to a large audience. The Objectives The main objective of Cinelmotion Project was to promote education and cinema literacy among young

7 Europeans and Latin Americans and to raise their awareness and critical understanding of media and, specifically, cinema. In general, Cinelmotion seeks to teach how to select, view, appreciate, and critically evaluate film. In a world where new media invades our space and our time, especially for young people, Cinelmotion aimed to contribute to: * Encourage critical and active examination of films; * Promote interest in, and sensitivity to, diverse audiovisual works; * Increase the recognition of our own and other cultures, current and historical, in film. The Main Activities Carried Out Cinelmotion Project undertook three main actions aimed strategically at two target audiences: young people and teachers. Television programmes production and broadcast The production and broadcast of three television programs on Latin American and European cinema. They have an educational approach and are based on common points and differences between the two types of cinema. Three 30 minute television programmes on the subject of Cinema have been produced by the Cinelmotion Consortium and broadcast for Latin American and European audiences. The programmes are in Spanish, subtitled in English and are also available on the online platform. The programmes have been designed and produced with the contribution of ATEI and in cooperation with EAVI and their international partners. As the programme has been transmitted by dozens of television channels an the impact that a conference or a seminar would have had. This impact is significantly greater. The programmes focus on European and Latin American cinematographic works broadcasting film clips and interviews. Topics included classic and cult movies, current events, protagonists and the role of young film-makers in both continent cinemas. The project has utilised the full scope of popular websites such as Youtube to promote the project. Many channel partners of ATEI have broadcast the three TV programs starting from August Most of them more than once. Online platform The online platform provides an educational resource for film education, which is aimed especially at educators and the general public. In the Film Education section, teachers will find the resources to enrich their classes with elements of cinema and, thus, to promote their students media and communication skills. The materials are divided into three main sections and are ready to be used for different subjects and with different pedagogical approaches: - Cinema Knowledge: provides materials to increase the knowledge of cinema, the audiovisual narrative structure, genres, formats, language of images, sound, etc. - Analyse cinema: provides teachers with the resources for facilitating the critical understanding of films. In addition, students are encouraged to take a critical look at the audiovisual works, and compare and contrast the results with their own ideas and beliefs. - Learn through cinema: provides the materials to enhance teaching and learning through films, in diverse subjects such as history, society, biology, etc The Filmmaking, Cinema Watch and Critical Eye sections, provide articles, videos, and other resources to improve the students knowledge, skills and critical understanding of films which are targeted at young people. The Participate section highlights scholarships and opportunities offered in Europe and Latin America

8 to participate in festivals or awards, film studies, announcements of grants and sponsorship, etc. Hosting events The most high-profile event supporting this initiative has been the conference held at the Spanish Senate House in Madrid at the Third EAVI International conference in November of In order to maintain momentum, several other events have taken place along the way. It is worth mentioning the Seville ATEI Conference in which the programme was broadcast to the audience and to their members. The consortium also participated in a number of Film Festivals to promote the project both in Europe and Latin America. Long Term Benefits The existence of a receptive audience hopefully contributed to provide an incentive for aspirant film makers of both territories to produce films of a commercially naïve nature, not succumbing to the temptation of making a culturally anonymous picture in order to fulfill box-office expectations. As film is considered by many to be the principal art-form of the last century, increasingly over-taking culturally specific music, art and literature in terms of mainstream consumption, it is therefore a largely untapped resource in terms of providing the general public with reference points for different cultures. Therefore, by enabling an enhanced perspective of foreign cinema, cultural divides will be decreased and the doorway to expressive, meaningful communication between Europe and Latin America will be opened, through which any number of related cultural products may enter. As the international audience will be well equipped to understand and contextualise foreign cinema, the effects of global

9 homogenisation will be limited, at the very least in reference to the cinematic and audiovisual works of Europe and Latin America. The consortium infact did not wish to organise just a typical conference at which only 500 people would have been involved. The production and distribution of the programme has granted a real impact on hundreds of thousands of viewers. It has instead increased the awareness of viewers, not with just information, but with critical capacity. The Activities in More Detail Cinelmotion Launch Event The project officially began on 26 November 2009, when the Consortium partner launched it at the Spanish Senate on the occasion of the EAVI International Conference in Madrid. As a result, this activity allowed the Consortium to gather more than 150 participants from 20 different countries to present Cinelmotion. It was thus an outstanding opportunity to demonstrate the project to the European community of researchers, policy-makers and civil society organisations active in the field of media literacy. Leaflets and a press release were distributed. Three Television Programmes Three 26-minute television programs on the subject of European and Latin-American cinema were produced by the Cinelmotion Consortium and broadcast throughout Ibero-American countries: Argentina (Festival de El Cairo, Santa Fe), Colombia (Telepacífico and Zoom TV), Dominican Republic (CerTV), Ecuador (Ecuador TV), El Salvador (Canal 10), Guatemala (TV Maya), Mexico (Red TV), Spain (Canal Sur and ATEI), Uruguay (TV Ciudad), and even Canada (Nuevo Mundo TV). Programmes were in Spanish and subtitled in English. These programmes were aimed at promoting awareness and critical understanding of film while strengthening the links between European and Latin American cinema. The first programme had two main features: The first is an inside report in two different film schools, one in Cuba and the other in Spain. The second programme features interviews with, amongst others, Juan José Campanella, director of The Secret in Their Eyes which won the Oscar for Best Foreign Language Film at the 82nd Academy Awards, and its protagonists Ricardo Darín and Soledad Villamil;

10 reports from different Film Festivals (Mar del Plata, Barcelona, etc); and finally, critical analysis of different movies in order to promote film literacy. The second programme s main features were an interesting inside report on how special effects are produced and a full coverage of the 17th Barcelona Independent Film Festival, with interviews to directors and media professionals. The third programme s main features were an inside report on make-up for films and interviews with the directors of La vida de los peces, La inspiración de Van Gogh and Andres no quiere dormir la siesta. You can watch the complete programmes on and on Cinelmotion.eu The online platform provides an educational resource for film education, which was aimed especially at educators and youth. In the Film Education section, teachers will find the resources to enrich their classes with elements of cinema and, thus, to enrich their students media and communication skills. The materials are divided into three main sections and are ready to be used for different subjects and different pedagogical approaches: Cinema Knowledge: provides materials to increase the knowledge of cinema, the audiovisual narrative structure, genres, formats, language of images, sound, etc. Analyse cinema: provides teachers with the resources for facilitating the critical understanding of films. In addition, students are encouraged to take a critical look at the audiovisual works, and compare and contrast the results with their own ideas and beliefs. Learn through cinema: provides the materials to enhance teaching and learning through films, in diverse subjects such as history, society, biology, etc The Filmmaking, Cinema Watch and Critical Eye sections, provide articles, videos, and other resources to improve the students knowledge, skills and critical understanding of films, which are targeted at young people. The Participate section highlights scholarships and opportunities offered in Europe and Latin America to participate in festivals or awards, film studies, announcements of grants and sponsorship, etc.

11 Cinelmotion.eu receives more than 1000 page views each month from visitors coming from Spain, Mexico, Colombia, Argentina, Venezuela, Chile, Peru, USA, and France, among others. Film Literacy by Wim Wenders President of the European Film Academy Public Hearing, Brussels, 27 October 2010 (edited) Good morning: I m addressing you as President of the European Film Academy that represents 2400 film professionals from all over Europe. In May 2009 twenty European filmmakers followed the Academy s invitation to a Think Tank under the patronage of the President of the European Commission, to reflect together THE IMAGE OF EUROPE. It didn t take them very long to identify the deficits of that image: Its citizens today perceive Europe mainly as a political-technical-bureaucratic structure, a more or less indistinct economic conglomerate. The ADMINISTRATION of Europe has become THE IMAGE of Europe! That was a disillusioning bottom-line, and half the explanation already for the current Euro-skepticism. The questions of image and identity are inseparably linked. To know who you are, you have to know what you look like, and vice versa. How you see determines how you are seen. We had a lively conversation with José Manuel Barroso, who generously joined us to reflect together with us how this sagging image of Europe could be improved. The conclusion came from the President himself: We have to concentrate more on the emotional side of Europe! You may not be surprised to hear that the 20 film makers assembled at our Think Tank saw their own medium, film, as a solution to the problem, if not to say as the secret weapon for achieving this very mission. We considered cinema as one of the most appropriate means to improve the emotional deficit in the reception of Europe. Culture as a whole, and in the widest sense, is the glue that forms identity and that determines the soul of Europe. And cinema has a privileged position in that realm: There simply is no more efficient and popular way to spread and communicate social, moral and cultural messages: Like no other medium film generates identification and establishes emotional and cognitive connection.

12 Film does not only project pictures, it reflects the very picture of our society, with its values, habits, hopes and fears. More than that: Film shapes these values, forms these habits and influences trends of hopes and fears. Movies helped to invent and to perpetuate the American Dream. They can do wonders for the image of Europe, too. If only Europe would make more use of its very own cinema for its own image, as well as for its identity. If only Europe would not be so shy about its greatest asset: culture, and, yes, film culture! You go into any of our museums all over the continent and in the morning you ll meet children, lots of them, learning about art in a highly engaging way. Art, the history of art, is part of our European culture, of course, children learn about it. You go into any bookstore, and you ll find a multitude of books. National and European books, most of all. Literature, theatre, and poetry: all part of our European culture. If our bookstores were filled at 70 or 80% by American books, there would be an uproar, an unbelievable outcry. Same with our concert halls... But: look at movie theatres all over Europe... No outcry. Sometimes half the screens of an entire country are occupied with one American movie. No outcry. Translate that to museums, concert halls, theatre. But I m not here to complain. European films are in a remarkable shape, overall. Engaging, diverse, intelligent, funny, emotional! Just go and see the 3 films for example that are nominated for the Parliament s own LUX Price this year... National industries have regained a market share of about one third or one quarter, depending on the country, which nobody thought possible 10, let alone 20 years ago. We re making more films than ever in Europe! So, no lamenting! We can be proud of the past and the present of European Cinema. I m here to talk about the future, but in a very specific context. I want to talk about children, kids and adolescents. Future audiences, yes, but most of all: future Europeans. For most of these young audiences all over Europe the option of European Cinema just does not exist any more. For them the movies are synonymous with blockbusters. A giant global entertainment industry is catering to them and very much concentrating on them, with big guns, so that our often small, but emotionally rich and nourishing European films have almost no chance, at least in their eyes, and are becoming a species in danger of extinction. True, our cinema overall is directed to more adult audiences, it is, often, rather slow food than fast food, it is good food. But the fact is: We re losing young audiences! That does not have to be like that, we think. It is indeed inacceptable, when you realize that the decline I am talking about is one of education: An audience with even a vague knowledge of the history and the richness of European cinema would and will be able to chose differently, would and will make other decisions what it wants to feed on. Taste can be taught! But: the Seventh Art is playing a minor if not inexistent part in the curricula of our schools! Film with all its fantastic possibilities is by far not explored enough for the imparting of cultural and social competence! Film is still seen as a commercial product, first of all, and not as a universal language that can be taught and learned. We are living in an era marked by audio-visual media. Kids are spending every day significantly more time in front of the TV or the computer than over a book. But in striking contrast to this, the visual language still has a complementary status in school, that is to say: IF it is offered at all. I am here today as a representative of the European Film Academy, to appeal to those who have the political power and means to assure to the moving image a higher importance in education than granted until today. Shouldn t the children, who are growing up in a world dominated by images of all sorts, be given a serious chance to learn that grammar and that vocabulary? A lot of us are certainly right to worry about the fact that reading books is losing it s attraction for young people, but isn t it even more inconsequent if we are giving up help and instruction how to read images from the beginning, or worse: leave it to groups with blank commercial interests? We appeal to the EU member states to take the subject of film education or cinema literacy on the agenda of the council of ministers in charge of education and culture, with the aim to allow film, like art and literature, to become a stable, integrative part of the school curricula and not be treated any longer as a complementary programme. We are aware of the fact that our vision, in one essential point, does not meet the political reality:

13 Education is not a matter of the European Union, but of the members states themselves. As a response to our appeal many ministers were keen to let us know that they very much appreciated our request and that we were absolutely right about it. And they all made it clear that in their own country a lot had been done for and invested into film education. Programmes like Vision Kino in Germany, Lycéens et apprentis au cinéma in France, or Film Education in the UK, to name but a few, are doing their important work for many years already with strong commitment and successful results. But: shouldn t we already be a huge step further ahead? Is it really sufficient to use film education tools on a facultative basis only? If we want to move up to a mandatory basis, we have to invest into the training of teachers, to begin with. In my own country for instance, media education is still only a supplementary course of studies. The number of films annually produced in Europe has doubled over the past decade: from 600 to almost 1.200! However, while the number of productions is Increasing, the number of films commercially released is Decreasing! But, what is decreasing the most: The number of films travelling and crossing the borders. In 2009, the average share of European films at the box office in Europe was at 26,7%. Not bad, but for the European cause this figure is misleading. The biggest share of those 26,7% belongs to national productions of each respective country. A very small, depressingly small percentage is left to the films by our neighbours, to the rest of Europe! That s the bad news. The good news: local films are becoming more successful. The market share of national films in 2009: in France 45%, in Germany 27%, in Sweden 33%, in Denmark 33%, in the UK 31%, in Italy 30% and so on. An increasing request for national or regional content. An interesting turn of events! Thanks to cheap airfares we are travelling more and more, borders between most countries in Europe have disappeared, but: the films from all these places we are travelling to, are travelling less and less. That traffic is about to come to a grinding halt. If we do not react soon and do something, a whole new generation will not only miss an important element of European culture and integration, but also our very own tool for exchange and social mediation. We ll use foreign tools instead, external ones, imported ones, that will even estrange us more from our home continent, our own stories, our own images, our own languages. Our European identity depends on that integration, depends on sharing emotions and common stories, instead of just laws and money! We need to equip our children with the skills to decode images so they ll still have the taste for their own ones, so we can continue in Europe to produce and project our own imagery, our own image and identity, in the future. Otherwise there won t be the Europe we re dreaming of. There ll only be its administration, until people will get sick and tired of it. Our European film culture is characterized by something that distinguishes it from the global cinema: It tells not always, but most of the time - of local and regional stories and conflicts. It is specific, full of local colours and tastes, of accents and languages. It celebrates diversity, even more so: It keeps cultural diversity alive! It is our deep conviction that a major task for primary and secondary schools is to teach the decoding and the appreciation of this our very own cinema and its history, understanding its amiability and humanity. Europe, the image of Europe, will profit immensely from this. Entering cinema or media literacy in our school curricula will pay back in many ways, to Europe and to all its national film productions. The audiovisual industry, after all, is one of the fastest growing trades in the world. Images are the weapons of the future. This public hearing is taking place at a very important moment, when the European Union is drafting the objectives and action lines of the future MEDIA Programme. A key challenge for this future Programme will be to address the needs of the film and audiovisual industry, so that it responds to current European and global developments, and to find new ways of creating value and of driving revenues. Film literacy must be an explicit part of the forthcoming MEDIA Programme. It needs to be strengthened, for the sake of Europe s self-image as well as for its economic future. These two are linked! As education remains a competence of the member states, I strongly invite the Members of the European

14 Parliament and the Council to be ambassadors of cinema literacy vis-à-vis the national political and educative authorities. In addition to this legislative process, the European Film Academy offers to support the European Parliament, the Council and the European Commission in a campaign in favour of a Pan-European initiative for film education at school. Such an initiative could be based on a common statement by the Presidents of the three institutions. We have the full support of José Manuel Barroso. In 1988 the Academy presented the European Film Awards for the first time ever, that same year Europe celebrated its Year of Film and Television. Since then Europe has changed fundamentally and so has the audiovisual landscape. I think it is high time for a new European Year of Cinema. It s high time for Europe to take charge of its IMAGE by taking its IMAGES seriously enough to let its children learn to read and appreciate them. Thank you. An Extract of some Film Literacy Resources Film Education a charity supported by the UK, A relevant article : «Film in the classroom: film in literacy» Film engages children in a unique and powerful way, but films still have much in common with books in the way they tell stories. Both mediums can be discussed in terms of narrative structure, genre, themes, character and setting. Stories, whether written in books, narrated orally or told in film, are usually more than entertainment alone. They have different purposes and underlying messages, providing knowledge about worlds and subjects that we may never have the opportunity to experience for ourselves. They can also provide us with the chance to reflect on our own lives. As when reading books, we need to use a set of skills to make sense of a story on film. We often use these skills without realising. Meaning within a film is often implied or embedded in the codes and conventions with which film communicates. The following questions can be asked when working with film: How are texts structured for different purposes? What language devices are used to engage the audience? What do you think the character is feeling here? What is the setting and why do you think the author chose it? These are questions that primary school teachers are working on with children daily using written texts. Moving image texts can provide another way of looking at the same themes and learning about these story elements forms a significant part of the Primary Framework for Literacy. University of West Georgia A relevant article: «Introduction what is media literacy?» «Film literacy is a convergence of the interdisciplinary practices of literary and media studies, which both concentrate on the analysis of significance in all manner of texts: visual and written. Ushering students toward a more open notion of literary discourse and practice, critical media pedagogy begins with the assumption that visual images, songs, advertisements, and film are inherently ideological and political. The media enacts, as John Berger frames it, ways of seeing that can effectively produce and determine the meanings and outcomes of discourse itself and which, therefore, shape our cultural contexts. Our job as critics is to see these texts as a mélange of cultural archives, open to functionalist analysis and critique. What do these texts say about the human experience? How do they construct meaning? Whose interests do they serve?»

15 Film 21st century literacy A strategy for film education accross the UK A relevant article: «Film 21st century literacy» *This is a 10-page article with sections on film education and its challenges. European Parliament A relevant article: Film maker Wim Wenders: Film is a language that can be taught Legendary film director Wim Wenders wants to see film on school curricula from an early age and says that we are missing the chance to teach our kids that there is a whole different language that they can learn and that they need in order not fall victim to fast food syndrome. We talked to Wenders as he visited the European Parliament for discussions with MEPs on Film and European identities - a hearing launching the screening of 2010 s LUX film Prize finalists. Is there one European cinema or several national ones? Wim Wenders: European cinema is luckily not just one but it is composed of many voices and these voices have something in common that we proudly call European cinema. A lot of people over the years have asked the question does it exist or isn t it just the sum of all the national cinemas? - It is more than the sum. The sum is already quite a lot but European cinema is much more with its language of its own with its own rules and its own history. A very distinct language... that Hollywood learned a lot from over the years. How can we promote national films from one country to another? We see the incredible richness of films out there, and we see how little they travel. Every year it s less. And it is not because people don t like it. Once you show people these movies they are flabbergastered, they are astonished, but they don t get to see them. The audience is there; it is just that the chances to see these movies are diminished. European Parliament s LUX Prize is one out of many good initiatives. If you look at each country you realise there is a lots of programmes lots of activities lots of different ideas. Is language an obstacle? Language is always a problem. I hate to speak of it as a problem because I see it as a privilege that we can make movies in different languages. Language is both the wealth and the handicap of European cinema but we have to look at it as handicap to overcome and a handicap that is worth so much and that is in the end much more worth than it is a problem. What about cinema literacy and teaching film in schools... We are missing the chance to teach kids that there is a whole different language that they can learn and that they need in order not to be victims of fast food. When kids start with a certain food and they like it, they stick to it. We have to teach them there is other food out there. It is for their own good. We are not forcing them, they can later on go to see any movie they like. We are the last who want to impose any quotas. Everything is out there, they will see

16 eventually anyway. But it would be a shame if they completely lost the taste and the chance to learn that there are films about their neighbours, that there is another kind of cinema that is very different, and in a different way much more fun. Kids are exposed to no other language more frequently than the audiovisual language and it is the only one they are completely unprepared for. It is not just cinema, it is games, it is television, it is internet it is a language and it can be taught Scandinavia is leading, Denmark is way ahead. And it shows how successful it can be. The percentage of audiences for European films in Scandinavia is much higher than anywhere else, because they started to teach and kids know there is something else out there. What is the difference between European and American film? European films have a tradition of being very specific, you find few European films that take place nowhere or anywhere. They take place in a certain location, they have a certain language. They are located in a specific place. Most American films are located in unspecific places, they like to appeal to an audience where it doesn t matter where it takes place. And I think it s good for kids to learn that films can be specific and that they can talk of real things, and not only imaginary places. Wenders-Film-is-a-language-that-can-be-taught Example of Didactic Materials available on Cinelmotion.eu Latin American and Co-production Claudia Llosa: The apogee of Peruvian cinema The award-winning film The Milk of Sorrow, described by its young director Claudia Llosa: The story reflects the Peruvian traditions, the beauty of its landscape, and the myths that exist within the communities, thus preserving the oral tradition inherited from the indigenous peoples. Claudia Llosa is one example of a young Latin American director who, despite having been trained abroad, has returned to their country with the simple idea of telling stories through film. This film is an example of the high quality cinema which is being produced in Latin America: full of dreams, stories, knowledge and a great deal of young Latin American talent. This type of cinema is, little by little, consolidating its position in the international arena. The director Claudia Llosa is an example of this. The fact that her film was nominated for an Oscar along with the winning Argentinean film The Secret in their eyes by Campanella, demonstrates that Latin American cinema is now being recognised worldwide. This film is a co-production between Spain and Peru, making it an example of the results achieved due to the support and funding that young directors are getting from organisations outside their own countries. This funding allows them to become recognised worldwide in festivals and on commercial billboards. The secret in their eyes, Argentine cinema shines with its own light The film The secret in their eyes has become Argentina s first film to win an Oscar (2010) in the category of Best Foreign Language Film. Argentina has a world-renowned film industry, which is certainly the most visible in South America. This is partly due to the important support that institutions like the National Institute of Cinema and

17 Audiovisual Arts (INCAA) give to their productions, in addition to their interest in training new directors. Richard Darin, the leading actor, and Juan Jose Campanella, the director, worked together previously in 2001 in Son of the Bride, a film that was awarded worldwide recognition for its excellent screenplay and extraordinary acting performances. They join together once more to work on a film that has received mixed criticism. There are those who classify it as a film that surprises and, due to the excellent performances, manages to captivate the audience. Meanwhile, there are others who do not even consider it to be one of their favorites. Nevertheless, Campanella has managed to place Argentine cinema, after several years, amongst the best in the world, broadcasted in the most prestigious film festivals where people have begun to discuss New Argentine Cinema. The Oscar awarded to The secret in their eyes in the category of Best Foreign Language Film, in recognition not only for Argentine cinema but also for Latin American cinema, which is slowly gaining ground in the U.S. market. The prestige of Argentine cinema has been reaffirmed, not just because of the Oscar awarded to The secret in their eyes, but also because of other high quality films like Nine Queens, Kamkatka, Intimate Stories and Lost Embrace, which, among o thers, make Argentine cinema one of the most comprehensive in the world. Young people in South and Central America who are interested in the study of film, direction, production and montage are now going to Argentina to study. The movie scrip: definitions and exercises Analyzing the scrip of The Secret of their eyes and watching it will allow students aged 15 to 17 to know the structure and performance of a literary film scrip. Students will also learn how the performances and the assembly of the sequences can influence the film. The script is the text that describes the images of a film. This educational resource explores the concept and structure of a screenplay. The activities will deepen the concepts and the exercises will allow students to learn more about its structure and usefulness. Additionally, different materials are provided to identify each definition in both text and images. How is the Colombian cinema? This Cinelmotion educational resource targets young people aged between 15 and 17. The goal is to provide students with an overview of Colombian cinema. As part of this, they will watch a film based on a true story that has received some of the highest acclaim in Colombia. The materials chosen for depicting the history of Colombian cinema are short and easy to read in order to entertain students while they are learning the history of cinema. The film proposed for approaching the Colombian cinema is entitled A ton of luck. This film, in spite of involving an armed conflict in Colombia, uses fresh and funny language, which makes it entertaining for the viewer and easy to understand. The theme and the exercises in this educational resource are suitable for areas such as history and social sciences. The activities have been designed to encourage both individual development, by enhancing the ability to reason, and teamwork skills, by combining ideas. The first activity will require students to read three articles in order to give them the context of the history of Colombian cinema. After this, they will compile the main ideas. We then propose watching A ton of luck. Finally, we suggest to debate on the use of true stories in

18 cinema in order to develop students skills for argumentation, discussion and teamwork. Selected Examples of Film Festivals Initiatives BAFICI: A festival for young people and children The Buenos Aires Independent Film Festival is not only an exhibition space for large worldwide productions, but also a place to exhibit the works of young Latin American filmmakers who are new to the world of cinema. The Talent Campus and the BAFICITO give awards and training to the young audiences attending the Festival. On April 12th this year the Independent Film Festival BAFICI took place in Buenos Aires, Argentina, and attracted the best of Latin American and independent world cinema. With indoor and outdoor exhibitions, the BAFICI reached all kinds of people in the port city. Around people attended the screenings of the Official Selection of free films and participated in the academic activities of the Festival. Besides the official and expert panels, the Baficito also took place a small festival aimed at children younger than 18 years, in which film appreciation workshops and discussions with experts were conducted. The Baficito culminated in a short film produced by the attendees, which will be exhibited at the next version of BAFICI and at other itinerant exhibitions. In addition to cultural activities, the Baficito had a central space dedicated to small children, where they broadcasted animated films such as A Tale of Two Mozzies of Hastrup and Flemming Quist Moller. The Talent Campus Buenos Aires, is also in partnership with the Berlin Film Festival - Berlinale Talent Campus, which seeks the participation of young South Americans who wish to present their work in the film world. This year, the Campus offered the young participants training sessions with experts who provided them with guidance and helped them to carry out their projects. These experts accompany the itinerant exhibition of the Festival throughout the world.

19 Cannes, la casa de Cinéfondation The Cannes Film Festival is not only one of the most important film events in the world, but it also serves as an opportunity for the emergence of new generations of directors. Cinéfondation was created for this reason, and it aims to provide training for young filmmakers who are writing or finishing their debut. Every year, the Résidence du festival, a part of Cinéfondation, welcomes young foreign directors to the school in Paris in order to help, train and support them in the preparation of their films. This year, four young directors from Latin America, with experience in making short films and documentaries, were selected. They are: Michel Franco (Mexico), Cristián Jiménez (Chile), Franco Lolli (Colombia) and Dominga Sotomayor (Chile). The involvement of these young filmmakers in the program demonstrates the growing importance of film in countries like Colombia and Chile. Until recently, these countries premiered a maximum of three or five productions annually, and they were not distributed at major festivals worldwide. But today, with initiatives such as Cinéfondation, these young directors already have greater opportunities for the future. The goal is to leave La Résidence with their debut almost complete and ready for distribution in the world itinerant exhibitions or in the Director s Fortnight within the Cannes Festival. In addition to La Résidence, the Atelier also aims to help young filmmakers in the production and distribution of their films. Cinéfondation and La Résidence are exemplary initiatives which assure the future of the new directors. Young cinema gets screened in Malaga The thirteenth Spanish Film Festival of Malaga was held from the 17th to the 24th of April. This year s event presented 11 sections containing documentaries and short films produced in Latin America and Spain. Young directors and actors who gathered at the Festival became the protagonists of the official exhibits, workshops and presentations at the event. In Málaga, there were screenings of films and short films from young Latin American and Spanish directors, who are becoming known in the cinema world through presenting their work at the most important festivals. This year the Masterclass, with the participation of a distinguished group of outstanding young experts in the world of cinema, addressed the topics of directing and special effects. Among them was Gonzalo Lopez Gallego, a young Spanish director who has directed three feature films which have won awards in different film festivals. He shared his experience and gave some advice on conquering Hollywood. The Catalans David Martí and Montse Ribé DDT, spoke about the special effects, special makeup, and the construction of

20 body replicas, all of which made them worthy of an Oscar for Best Makeup in Pan s Labyrinth. This year there was also a special section devoted to children ( Cine para la infancia ), where they could watch different animated films from Spain and Latin America, which are not broadcast commercially. This was another year in which the Spanish and Latin American films took the leading role in Malaga, through involving the young audiences and children of the city. This Festival serves as a platform for young filmmakers who are already beginning to take part in the best festivals in the world. Analyse cinema Aesthetics in films: Elements and genres The objective of this educational resource is that students improve their ability to analyse films through the study of aesthetic and technical elements of film language. By watching Let the right one in and answering the five questions in this educational resource, teachers can help students to deepen their knowledge of the different film genres and identify components within them. The aim of the exercise is to discover the aesthetics and the different techniques in films through searching for them within this movie. Self-learning and group work are the basis of this activity. The film is composed of several genres: romance, horror, fantasy and drama, all placed within a familiar context for year old students, i.e. violence among classmates. Therefore, the teacher will be able to address contemporary problems in the classroom with their students. The importance of makeup in cinema This material, targeted at young people between 14 and 17 who are in classes of visual arts, crafts and creativity, aims to educate the role of makeup in creating characters and special effects. The film chosen to illustrate the makeup s role in cinema is Pan s Labyrinth produced in Mexico and Spain, which won several awards. Makeup was an i;portant feature of this film, as it allowed the precise characterisation of the protagonist. In addition to the film, we propose to watch two short videos that show that further illustrate the role of makeup. We also present a website containing pictures that show some major changes in a protagonists appearance thanks to the makeup. All the proposed activities may take place in two or three class sessions in addition to homework. We propose to start with the introduction to the topic by telling students about the importance of makeup in the film and showing the players that have been processed with this resource. We would then tell them the awards it has won and present the interview to the team in charge of this film s makeup. Only afterwards would we present the full movie andpropose to watch a video showing the makeup s production in the film. Finally, we propose to work in teams to create two characters that should utilise makeup, costumes, masks, or any other tool they prefer. In this way, they will exercise their creativity as well as developing their teamwork skills. Producing low-cost films: El Mariachi This educational resource aims at exploring the production process of a low cost film.

21 The activities proposed intend to inspire students creativity by encouraging them to use their own tools and environment to tell a story by video. Specifically, the objective is to teach students how to produce a low-budget film by identifying and imitating some of the methods used by the film s director who succeeded in producing an awardwinning film. This resource can be used for all courses that relate to audiovisual language and film making. What are the Props? With this educational resource, students will be able to understand what the props are and why they are important in the cinema, especially regarding the construction of scenes. Students will also learn that it is not only the dialogues and actions that communicate, but also other elements such as costumes and props, which can contribute and improve the film s accuracy and credibility. The film chosen for this resource is Rouge (Red), a film part of the trilogy Trois Couleurs (Three colours), along with Bleu (blue) and Blanc (white). The main characteristic of these films is the use of light, costumes, scenery and props according to their title s color. So, in this case, the color red will stand out in much of the film. Additionally, this resource presents to students the prop of three cartoons. In this way the students will be able to understand better how props can help create spaces that make more sense and give realism to the scenes and the film. Finally, we propose a group activity for students to produce a static scene. In order to do so, they should use costumes, scenery and props. As a result, students will understand that these elements are essential in order to communicate and give consistency to the message. This film and its educational resource can be used for children above 13, in areas such as language education and / or image analysis. Pan s Labyrinth: Metaphors and allegories Using the film Pan s Labyrinth, Cinelmotion offers an educational resource targeted to high school students aged This resource can be used to teach how to use different types of language in films such as metaphors and allegories. In addition to providing excellent material to work on the use of language, this film also offers the opportunity to show how often cinema uses parallel dimensions: the real and the imaginary worlds. The technique can be adopted both to construct metaphors as well as to explain complex issues in an easier way. The director of Pan s Labyrinth utilises both techniques to show his vision of a great historical event and to make us understand the importance of imagination as a way to escape reality at the most difficult moments of life. This educational resource also suggests two activities to develop students critical thinking. Depending on the teacher s objective, one or the two activities can be carried out. However, in both cases we advise to analyse the key moments of the film and the message that the director tries to convey by mixing reality and fantasy. Movie Language: Flashback The movie Persepolis (2007), which is based on the identically titled graphic work of the Iranian Marjane Satrapi based in France, which tells, in a comic way, the history of the Iranian people and of her own life among the Islamic fundamentalist regime that would have her live in another country. The story told by its own protagonist, talks about her childhood and adulthood, showing at the same time different societies, contrasts between cultures, ideologies and aspirations of a young woman who likes, as many others do, loving, learning and living freely. The novel, which consists of four volumes, is brought to the big screen under the direction of Vincent Paronnaud and Marjane Satrapi. It is an animated film, keeping the aesthetics features of the graphic

22 novel. Persepolis is characterized not only by its subject and animation, but also for being made in black and white. In addition, this film was nominated for the Palme d Or, it won the Jury Prize at the 2007 Cannes Film Festival and it also won the Prize for best animated film at the Oscars in Through this resource, students will learn the narrative technique called flashback and how it can be recognised in a film. In this way, we will help students to recognize aspects of film language that are normally used, but that are not perceived by our eyes. They will also learn that the memories of the characters or the narration of past events have a proper technical name in audiovisual language. This resource is targeted to children between 9 and 17 years in areas of Social Sciences, Language Arts. Intermediality at the Cinema: Painting The Girl With a Pearl Earring, 2003, is a drama set in Holland in 1665 about the disturbing life of the painter Johannes Vermeer, who feels motivated to continue painting thanks to the inspiration of his maid Griet. She will become the protagonist of several of his paintings. Furthermore, the film took its title from one of his masterpieces. Vermeer is attracted to Griet, who fascinates him not only because of her beauty, but also because of her great aesthetic sense and artistic interest. She starts to feel attracted to him too, even though he is married and she is his maid. This film is not only a drama, but also an artwork in itself. It was nominated for best cinematography, costumes and art direction in the Oscar s. In addition, it received 2 Golden Globe nominations, 10 BAFTA Awards, one Goya Award for best European movie, and one David di Donatello Award. This educational resource can help students to easily understand the process of intermediality between film and other artistic expressions, in this case painting. The Girl with a Pearl Earring will allow people to discover how painting mixes together with the film: in other words, how the scenes of the film become a moving painting. This resource is targeted at students between 9 and 17 who are taking courses in Audiovisual Communication, Arts and, specifically, painting. Youth Rebellion and Political Participation Among the Youth The objective of this educational resource based on the film The Edukators is that high school students -aged between 12 and 16 years- discuss and propose mechanisms for citizen participation. This aim of this educational resource is that young people will develop the skills to analyse the messages contained in the film and will discuss and think about different forms of citizen participation. Teachers can use the film The Edukators, to approach and discuss the topics of Social Sciences and Civic Education in a way that is closer to the students reality. This will result in dialogue and the exchange of opinions among students and thus, the development of their communication skills. Through the topics raised in the film, the teacher may discuss certain issues with students such as voting, street protests, or even the May Revolution of We suggest that the teacher divides the class into four groups in order to carry out the activities. Each group will discuss various concepts and share their opinions with the rest of the class at different stages during the film. To conclude, we propose different research and creativity activities. Thus, the students can discover for themselves the implications that political decisions can have in society and the importance of active citizenship. The Class This educational resource aims to understand the nature of the relationships that arise in a classroom.

23 Thus, we propose the viewing of the French film The Class Entre les murs (2008). The recommended activities will help identify and analyze the behaviors and attitudes adopted by teachers and students on the film, and then extrapolate and identify these same attitudes into their real class. In this way, the student can better understand the importance of respect and communication between their peers and their teachers. The issues addressed in this film allow this resource to be used in secondary education in classes focusing on communication (language), creative communications (visual language) and / or citizenship. Nevertheless, given the nature of the topics discussed in The Class this educational resource can easily be adapted to different ages and countries. The Wave: Students behaviour This educational resource is designed to help students, between 15 and 16 years old, to analyse the characteristics of totalitarian governments. By watching the movie The Wave and carrying out the proposed activities, students will be able to improve their media literacy skills as well their critical analysis of totalitarian and autocratic behaviour. The aim of the proposed activities in this resource is to make students analyse how they can be subject to manipulation on various levels. Moreover, the resource can help students to critically analyse some teaching methods, group behaviour and how group and mass pressure can have an influence on us. This activity will utilise analogies of autocratic governments and conduct. This educational resource may be used for different subjects, such as Citizenship Education, History, and Social Sciences. In order to take full advantage of this resource, it is recommended that the teacher first introduce the concept of totalitarian systems to the students. The activities are designed for two sessions. In the first session the subject will be introduced and the students will watch the film. In the second session analysis of the film will be carried out. The most important activity is the analysis of the film since this resource aims at increasing critical understanding. One key question to be addressed during this activity will be: is it possible that I could be part of an experiment such as the Wave? This resource has complementary materials like blogs analysing the film, interviews with the director, and information about the true story, which the film is based on. The resource also provides information on totalitarianism. Sports Fanaticism Sports fanaticism is a common occurence throughout the world. Nowadays, when there is a big event such as a football match the joy and healthy distraction often turn into riots and other types of behavior that are not characteristic of a healthy social life. This educational resource uses the film Maximum penalty to help teachers to address this issue and serves as a tool for students to reflect on their own and others attitudes and conducts as well as the positive and negative effects these behaviors have on social life. Finally, students will be encouraged to express their passion for sport in a healthy way while respecting other people. This resource is aimed at young people between aged between and can be used in courses regarding citizenship, civility and even sports. The resource proposes activities to be carried out before, during and after viewing the film, with a questionnaire that will help stimulate debate, self-reflection and constructive criticism. It at the teacher s discretion whether to present just the first sequence (required for this educational resource) or the entire film.

24 How do we Relate to our Family? The film Mio fratello è figlio unico ( My brother is an only child ) is a valuable tool for working on issues involving relationships, cohabitation and family with students ranging years old. This Italian film, released in 2007, won five Donatello awards in Italy and was selected to participate in Cannes. The film is based on the novel by Antonio Penacchi, Il fasciocomunista. My brother is an only child addresses several topics such us youth rebellion, confrontations, rivarly between siblings and love. The story is located in Italy during the 60s and 70s, and it uses as a context the ideologies and tensions of the period. Thus, the film along with the educational resource generates a space for the students to reflect on the relationships that they developed within their family in terms of good and bad relations, particularly between brothers, and how these situations affect their lives. General topics My Life Without Me: Life before Death The starting point of My Life Without Me is Ann s discovery of her disease. She is a young girl who decides not to share the fact that she is going to die with anyone. In the first minutes of the film, we begin to think, for example, about what really matters to each of us, how to prioritize people and things in our day-to-day life, and how all of these relationships end up influencing the decisions we make throughout our lives. The film depicts a very atypical character who, when she receives the diagnosis that she does not have much time to live, decides not to tell anyone else. Instead, she immediately begins to compile a personal list of all the things that she would like to do before her death. As part of her plan, she also decides to organize her family environment so that, when she dies, her loved ones will be able to continue living the same daily routines as when she was alive. Her desire to settle all pending issues is approached in a very sensitive and touching way, making us reflect on what we would like to fix in our lives and how many times we only realize the mistakes we have made when we are facing extreme situations. Among Ann s most urgent resolutions are finding a new wife for her husband, a mother for her daughters, and to get closer to her own mother, with whom she has a difficult relationship. Furthermore, she starts to look for other men with whom she can have new experiences. She also tries to reestablish contact with her father, who spent ten years in prison. Despite the fact that the movie deals with such complex issues, the film also offers us much lighter moments such as when the protagonist decides to get fake nails and change her haircut, objectives also included in her personal list, which helps us to realise that life is also comprised of small trivialities. The storyline gives us the opportunity to explore, with young people aged 15 years or high school students, a vast variety of issues which are usually difficult to address at this age, such as illness, death, family conflicts, relationships, how difficult economic conditions and unemployment also affect people s feelings, coexistence, tolerance and infidelity, among others. When watching My Life Without Me there are several opportunities to introduce dynamic and provocative issues in subjects such as philosophy or ethics (in Civics for example). The teacher should provide the students with an open space in which they feel free to discuss their own feelings. Below you will find the homepage of the movie, and a youtube link, which will give you a better idea of the activity, proposed in this educational resource. The activity consists of a questionnaire for the students to fill out and which teachers can use as a starting point for utilising the film s contents. We emphasise that, even though we suggest a more traditional kind of activity, we believe that there are probably plenty of other approaches and activities, which are useful for discussing the underlying issues in the film. For instance, each group could choose one character to analyse, and then, explain how they would act if they were in that situation. In this way, it would be interesting to observe the students different points of view and how their individual sets of values affect the decisions that they are obliged to make on a daily basis.

25 Mountain or Hill? Geography through Film. The film The Englishman Who Went Up a Hill But Came Down a Mountain (1995), is a traditional comedy with a romantic touch and a bit of drama, accompanied by a superb soundtrack. Set in 1917, the film tells us about the encounter of two cartographers - commissioned by the government to draw a new map of Wales - and the inhabitants of a village called Ffynnon Garw. The dwellers feel proud of their village s landscape and its surroundings, especially what they consider to be the first mountain in Wales. Therefore, they feel it necessary to do something after the cartographers determine that the object of their pride is a hill, not a mountain. The plan is to increase the height of the hill and in the process, convince the cartographers to reassess their decision. Apart from all the funny situations that the movie displays, which will definitely entertain the students, this resource is important because it explains concepts of geography in a simple and easy way. For example, students will understand the difference between two types of geographical accident. Moreover, Welsh landscapes and environment may serve as an inspiration and motivation for students interested in geography of their environment, region or country to learn more about it. The Value of Creativity The film Vatel (2000) takes us to 1671 to display the creativity, light, color and taste of France. François Vatel is a servant of the Prince of Condé - the protagonist of this film- and has been assigned the difficult task of welcoming King Louis XIV and all his Versailles court as well as organising great parties for three whole days in the castle of Chantilly. The objective is to impress the King so he grants the Prince of Condé the command of the troops in the war against the Netherlands. For the Prince, this would represent the recovery of his fortune and prestige, as well as winning back the King s confidence. What draws our attention in this film is how Vatel sets to work: leading many servants, distributing the work and coordinating their tasks, but also how he uses his creativity and wit to design large thematic parties with fireworks, theater and delicious dishes. In this regard, the protagonist demonstrates great skill and creativity in diverse areas. Despite the tragic end of Vatel, due to various circumstances beyond his power and good intentions, the film provides us with scenes of great value to motivate and promote the skills, talents and creativity of students. This educational resource is aimed at young people between 13 and 17 years old and can be used in all subjects that involve art, design, aesthetics and creativity in general. The Dinner Game Cinelmotion offers the opportunity to address in the classroom one of the most controversial topics among adolescents today: the rejection of a person that doesn t follow the norms by showing the film The Dinner Game. This didactic resource aims to help to introduce the subject to students and to generate a constructive discussion about the topic. We encourage students to reflect on the absurdity of prejudices and stereotypes that we have internalised due to the culture in which we have grown up. We encourage an open dialogue that helps students to recognise the missing values in our society. We are living in an era of increasing intolerance towards others, especially among young people. Therefore attitudes such as not agreeing with the group, having a different way of thinking, being timid, or falling outside the aesthetic standards of beauty, could become a serious social problem, particularly among youth. To tackle this we suggest an activity in which, after a series of questions, students will watch the film and compare it with their own environment at school, at home, and in their circle of friends. The idea is that the script serves as a starting point for young people to identify the cruelty and senselessness of prejudice.

26 The Legend of Nahuala The Legend of Nahuala (2007) is a Mexican film that won the Silver Ariel Award for best-animated film. The film is targeted mainly at children, and it combines traditions, customs, myths and legends. The story takes place in the city of Puebla, Mexico in The protagonist is Leo San Juan, a child living in fear because of the horror stories that his older brother Nando tells to scare and mock him. Nevertheless, on the eve of the Day of the Dead, the legend of the Nahuala that Nando has told Leo to frighten him becomes true! Thus, Leo must face his fears and overcome them to save his brother from the clutches of the spectrum. This movie shows Mexico s great cultural wealth of traditions. These traditions are not only myths and legends but also regional customs, many of which still persist today. The film presents these traditions in an entertaining and colourful way through well-done animations. The legend of the Nahuala is an effective and entertaining tool to encourage and promote the appreciation of Mexico s cultural traditions, but the primary aim is to evoke love and appreciation of oral traditions, myths and legends the valuable part of the cultural wealth of nations - in children. This educational resource is aimed at children between 8 and 12 years in the areas of Social and Language. The Autobiography Turned into Movie The aim of this educational resource is to teach students from 12 to 14 years the concept of autobiography in movies. Through the resource we will examine the definition of autobiography from the literary genres point of view and how it can help us to understand a movie. We recommend watching the film Machuca because it allows us to address different topics in the classroom: gender, autobiography, subjectivity, and the historical context of the 70 s in Latin America and in the world. Therefore, the movie can be used in classes of Language, Communication and History. Moreover, since the film is told from the perspective of two 11-year-old children, the potential debate that can arise among students of the same age group can be very interesting. This resource should be used to complement the theoretical analysis of the autobiographies in the classroom. Therefore, it is important to define and characterize an autobiography before watching the film, as well as to provide materials and carry out some preparation activities. The purpose of the exercise is to discover: what specific elements identify an autobiography; its differences from a drama; and the importance of this distinction. Moreover, it can help to understand what is fiction and what is reality in a movie. We recommend that, as a conclusion activity, students draft an initial outline of their own autobiography. History: The Counterfeiters The purpose of this educational resource is to help students aged 13 to 16 years to contextualize the economic situation that existed during World War II. Furthermore, it covers different subjects such as the analysis of the War, Nazism, and the Holocaust. Moreover, it helps the students to improve their media literacy and to work collaboratively. Watching the movie The Counterfeiters and carrying out the activities in this resource can be useful for addressing different subjects such as: History, Social Sciences, Arts and Education for Citizenship. It is targeted at high school students. The resource has three educational objectives: the analysis of a historical era, team work and practicing the use of media literacy skills. Before watching the movie, we will carry out background research about Operation Bernhard which was aimed at generating a global economic imbalance by distributing counterfeit dollars, and which inspired the movie. We propose to divide the class into four groups. Each one will seek information regarding the following

27 topics: Economic context of the years before World War II ( ), how the main countries participating in World War II financed the war, in particular Germany, what was the operation Bernhard or Krüger, and the biographical details of Salomon Sorowitsch, protagonist of the movie. In order to make a collaborative work utilising ICT we propose to use a WIKI space, you can register at each student can participate and will be evaluated for their personal contribution. After watching the movie, we suggest a final comparison of the perspectives portrayed in the movie and the original facts and documents from that period. Danton: Liberté, égalité, Fraternité... terreur. This educational resource aims to present to the students one period of the French Revolution known as The Reign of Terror through the film Danton. This movie is about the story of two revolutionists, Danton and Robespierre. The film shows the moment in which the political differences of the two characters lead them to take radical positions, and thus, their friendship turns into hostility qnd they become enemies. The activities proposed aim to introduce the students to the political setting of that time, the characters, and their positions and interests around the historical events shown in the film. In this way, students will be able to understand the transformation of the political group of which Danton and Robespierre were members. Despite both characters defending the same causes at the begging of the Revolution (liberty, equality and fraternity) after the revolution both leaders turned on each other. The film offers several lessons regarding the game of power and public opinion management, which is still common in our daily politics and, unfortunately, in our human relations. We recommend using this educational resource in History classes, since it offers a good understanding of an otherwise hidden episode of the French Revolution. The movie is successful at transporting the viewers due to the high quality of its images, the production, and the accuracy of the historical data. Debate and Discuss Integration This educational resource addresses two aspects of the film Me too, performance and social exclusion, while also giving the students the opportunity to identify the role of each character in the film. This Spanish film deals with issues arising around the subject of Down syndrome. It delves into aspects of social marginality from different perspectives, such as, differences, family exclusion, loneliness, and so on. Therefore, this film is a useful tool for generating discussion and reflection on the social problems of our society. The excellent performances given by the actors in this film provide students with the opportunity to sharpen their critical eye in regard to elements of film such as acting and representation. The proposed activities will assess the students analytical and argumentative skills in an open debate. It is recommended to divide the class into two groups and get each group to defend a position.

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29 Cinelmotion was developed within the Media International programme of the European Commission and is coordinated by EAVI in collaboration with the Iberoamerican Association of Educational Televisions, Mizar multimedia, the Ministry of innovation and Culture of the State of Santa Fe in Argentina and Tevé Ciudad in Uruguay. The project is mainly about the production of three television programs, with the purpose of expanding the potential audience of Latin American and European films. The programmes are broadcasted widely across all Latin America countries. An online platform to share resources to promote film literacy has been conceived too. For more information see