Working on Film Literacy: the italian case within the European framework

• Autores: Simone Moraldi
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 1077-1084
• Idioma: inglés
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• Resumen

  • Since 2010, thanks to the school system reform, film and audiovisual are present in Upper Secondary italian school,and precisely as a core subject in the new “Audiovisivo e Multimedia” curriculum in the Liceo Artistico with more than1000 hours in 3 years divided into 2 subjects, “Discipline Audiovisive e Multimediali” and “Laboratorio Audiovisivo eMultimediale”.The struggle started in 1999 with professor Lino Miccichè proposal for a national film education strategy (Miccichè,2000-2001) followed by a 2-years experimentation term promoted by the Ministry of Education around film literacy. InEurope the 2002 Week of European Cinema within the 1st Cined@ys edition, followed by Thessalonica declarationsin 2003 and with the EFA plea launched by directors Wim Wenders and Volker Schlöndorff in 2009 must be pointedout. Alain Bergala’s L’Hypothèse cinéma is one of the best outcomes, proposing a French-experienced model forfilm literacy. In January 2012, the British Film Institute started conducting a study commissioned and financed by theUE aimed to give suggestions about the future of film literacy in the framework of the UE project Creative Europe,running from 2014 to 2020.Film literacy in the New Millennium has to face the necessity to be engaged in the complete productive chain,posing itself as a necessity for any audience building process. Furthermore, a multimedia-oriented literacy has toface another side of the social and political development around audiovisual: the New Millennium digital revolution.