This article poses the question 'How do we look at animals?', suggesting a link to inherent problems of documentary film-making. However, the question further suggests that there may be ways of relating to animals other than 'looking at'; other than 'observing'. Drawing from the research project De-Doc-Donkeywork: Decolonising Documentary Art…

Cinema has become indispensable to the world since the Lumiere Brothers shot the first film in the history of cinema, "Arrival of a Train." While it promised a captivating experience for audiences, those in power sought ways to exploit cinema and found it relatively easy to do so. Even Hitler sought refuge in cinema during the 1936…

This article critically reflects on the implementation of participatory video (PV) to explore the perspectives of 14 refugee participants regarding their place-making strategies in the Netherlands. The insights here derive from the experience of co-designing and implementing the "Digital Place-makers" program: a filmmaking course that…

Dorothy Arzner is best remembered as one of the exceptionally few women to direct feature films during Hollywood's 'golden age'. One of the lesser known dimensions of her career is her work as a film-making teacher in southern California during a time of great change in the ways that US-based film-makers learnt their craft. During the 1950s and…

The use of documentary, and in turn the value of documentary, is well established in formal education contexts. In addition to an established pedagogical value, this article examines the cultural and economic value of documentary in education through both national legislative reviews (the Australian Law Reform Commission's (ALRC's) "Copyright…

Established in Catalonia in 2005, Cinema en curs is now one of the most significant film education projects worldwide. This article places selections from interviews conducted in early 2021 with project founders and directors Núria Aidelman and Laia Colell within a critical context drawing upon international considerations of film education,…

This article outlines an exploratory approach to the delivery of film practice education, as developed and tested with a second-year undergraduate module in cinematography. Students were provided with two existing creative sound pieces composed by a professional sound designer within the context of an AHRC-funded practice research project entitled…

In this article, we explore how the recent proliferation of the virtual production stage with its promise of real-time visual effects has not only changed the working environment of the film studio, but also introduced an urgent need for new training and teaching approaches -- not only for current and future film students, but also for educators…

This article explores animation as a popular mode of moving image education in the wider field of Scottish film education, through a discussion with film education practitioner Jonathan Charles. It reflects on Jonathan's pedagogic approach to film education, the way in which it is shaped and aligned with changing institutional and funding…

Cinema's pedagogical essence nurtures a variety of educational strategies. Beyond serving as a support to other areas of knowledge or as the subject of artistic analysis, it also provides students with a means to give -- freely and significantly -- voice to their own concerns and interests. Short film production in schools can offer a process for…

The following article describes the process of a documentary filmmaking programme at a secondary school in Chile, which encourages students to engage with a sense of place and intangible cultural heritage. Run by Gaticine -- Centro de desarrollo social del cine (Centre for the Social Development of Cinema) in partnership with A Bao A Qu, a…

Six documentary modes are recognised: poetic, expository, observational, participatory, reflexive and performative. Scientists untrained in filmmaking most often choose the expository mode since it possesses the same traits and conventions as used in most scientific narratives. Yet, this need not be the case given that a new generation of…

While arts education is not currently prioritized by Bulgaria's conservative educational administration, non-governmental organizations such as Arte Urbana Collectif are pursuing a series of initiatives and projects in film education, geared specifically towards bringing together teachers and professionals. Here, we present an interview with…

This article explores a film education project conducted on an extra-curricular afterschool basis in a Greek secondary school in Tampouria, Piraeus. A documentarymaking project exploring the area around the school was realized by a group of ten 15-year-old students under the supervision of their English teacher/researcher. The following case study…

This article -- initially published in Spanish by "Toma Uno" in 2012 -- explores the Catalonian project Cinema en curs, an annual, recurring and now international programme of film education that takes place with students aged 10-18 in schools and colleges. First detailing both the rationale and methodology motivating the project, the…