Reports on a training program for filmmaking at the Institut des Hautes Etudes Cinematographiques (IDHEC) near Paris. Covers a brief history of the school, course content, resources, faculty, and admissions procedures for the three-year study program. (PD)

An address before the University Film Association (1980) in which a filmmaker/university teacher talks about the Hollywood studio system and various aspects of film: acting, directing, editing, writing, and teaching. (PD)

Includes 821 citations from 15 countries (listed alphabetically by country and author), extending from 1916 to 1981. Over 600 of the citations are from Poland. (PD)

Describes and evaluates a college level course designed to cover basic theory on the development of social movements and revolutions and to provide case studies from the United States and around the world through the use of documentary films. (RM)

Considers whether linguistic models can be used to examine how information is structured in the screen media. Highlights differences between language and screen media that make the transference difficult. Raises interesting questions about media literacy and whether screen media may have important perceptual and cognitive effects. (JMF)

Discusses reasons for keeping film study in the English curriculum. Offers resources for film study and lists some short films that can be used in class. (RL)

Presents results of a survey of secondary English teachers, film teachers, and film coordinators from two Pennsylvania counties regarding the purposes of film use, types of films used, objectives of film teaching, screening activities, analysis during the film, filmmaking objectives, and high interest courses. (JMF)

Through the example of "La Grande Illusion," the value of film study in an academic curriculum is discussed. A suggested teaching program for an economical yet comprehensive study of a single film is suggested. (PMJ)

Chronicles the development of the educational film in Germany from 1919 through the 1970s, moving from silent to sound films and introducing the influence of television on the medium. The single concept film, the influence of curriculum development and research, and the role of video are also discussed. (RAO)

Argues that film students should be taught how dialog replacement fits into overall engineering of a sound track--replacing dialog offers advantages to the student filmmaker that can enhance a less than stellar performance. States that skills such as foley artistry, postsynchronization of sound effects, and sound track engineering are as important…

Describes a course in American film comedy which includes three types of comedy: the tradition of the clown (beginning with silent comedy), romantic comedy, and sociopolitical comedy. Addresses such issues as escapism versus social purpose, fantasy versus realism, comedy versus laughter, and role of spectator versus role of text. (KEH)

Outlines a course covering the history of film and televisual representations of the Vietnam War. Shows how to relate films to the social interests they serve, and describes how to relate form to function. Provides a list of recommended films, television shows, and readings for each of the course's 10 units. (MM)

Outlines in detail a course that teaches the underlying meanings of the British TV series "The Prisoner" and the U.S. miniseries "Amerika." Aims to familiarize students with different formal methodologies and complements a graduate-level class in cinema theory and the history of cinema. Contains a list of readings for each…

Explores how teachers can help their students look for meaning in the visual media. Presents the theory that students object to looking for meaning in certain forms of visual media, because they dislike having their world complicated with unnecessary interpretive searching. Discusses the results of several class exercises adapted from David…