Curriculum fit
This activity can be used in schools to teach the following subjects and skills:
a) Primary School
- Literary and Cultural Education
– understand different forms of cultural texts: literature, theatre, film, music, visual and audiovisual arts;
– identify elements of theatre and film productions (e. g., acting, directing, set design, music);
– recognise differences between a literary work and its adaptations (film, stage, radio);
– translate texts into other forms (e.g. drawing, drama);
– mindfully watch films, concerts, plays, and broadcasts aimed at children/youth. - Speaking and Writing (students aged 11–14)
– create coherent texts: dialogues, stories, descriptions, reports, letters, invitations, etc.;
– write a film script based on book excerpts or own ideas. - Literary and Cultural Education (14+)
– identify aesthetic values in cultural texts;
– find traditional themes in pop culture (films, comics, songs). - Visual Arts
– express emotions and impressions in art inspired by reality, music, or literature;
– illustrate real or imagined events, connecting the arts to other school subjects. - Speaking and Writing
– present text interpretations backed by arguments and personal/contextual references.
b) Secondary School
- Speaking and Writing
– write reviews, essays, applications, CVs, speeches, and interviews. - Literary and Cultural Education
– interpret non-literary texts using appropriate artistic codes;
– differentiate between high art and pop culture; distinguish masterpieces from kitsch. - Visual Arts
– understand multimedia as a combination of text, sound, graphics, animation, and video;
– identify fields using multimedia (e. g., art, education, entertainment);
– use media tools creatively to produce short videos, presentations, or photo series;
– describe and evaluate multimedia works made by oneself as well as others.
About the activity
The workshop engages young people in a lively discussion of the cultural canon. It should inspire them to examine culture, and show that film provides a valuable cultural context that is helpful for the eight-grade and high school graduation exams (in the Polish context). Participants will analyse the creative process that transforms written works – literary classics – into visual narratives. The activity emphasises how emotional resonance, cultural relevance, and innovative storytelling techniques contribute to the enduring appeal of these texts in new formats. Participants will also learn to critically assess the fidelity and creative betrayal (re-interpretation) of adaptations and how they make the classics accessible to diverse audiences.
We’ve put together a short quiz so you can test your film knowledge after the activity – check it out!
What participants gain
- stimulate creativity and critical thinking;
- develop the ability to analyse film language;
- learn the history of film;
- understand the principles of film adaptation and the concept of creative reinterpretation;
- improve analytical thinking by comparing source texts (novels) with their film versions;
- skills in assessing cinematic elements such as narrative, symbolism, and emotional impact.
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What educators gain
As workshop participants:
- stimulate creativity and critical thinking;
- develop the ability to analyse film language;
- learn the history of film.
As workshop leaders:
- new methodologies to teach literature interactively;
- insights into blending film and text analysis in curricula;
- practical tools to engage students with a multimedia approach;
- use students’ technical skills (film editing, editing tools available on smartphones and free ones available for computers, searching on the internet);
- engage the entire group in creative and critical action;
- address personal or universal topics;
- class cycles that can be carried out as extra-curriculars at school, interest clubs, film clubs, film studios, art classes etc.
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Resources
Venue requirements
- a room with internet access, equipped with speakers, projector, and screen
Technology
- laptops or phones with internet access and simple editing tools (optional)
Supplies
- paper for notetaking
- film clips: scenes from films such as Znachor (2023), Chłopi (2023), Akademia Pana Kleksa (2023), a selection of video essays (optional)
- excerpts from relevant texts (e.g., Reymont’s Chłopi or Brzechwa’s Akademia Pana Kleksa).
Step by Step
Preparation
(10–20 hrs)
(10–20 hrs)
- Choose your film adaptations and match them with their source texts. In the Polish context, examples include Anhelli (dir. Barbara Nałęcz-Nieniewska), Świtezianka (dir. Julia and Mai Bui), Zbrodnia i Kara (dir. Piotr Dumała).
- Decide whether you want to run a shorter or longer version of the workshop. The first part focuses on film adaptations. The second, longer version (optional) explores ways of using modern approach to film classics such as video essay. If you want to run both parts of the workshop, prepare examples of video essays (see Toolbox: Film Canon presentation) and free editing program (CapCut).
- Prepare workshop handouts with comparative analysis frameworks (e.g., fidelity, creative reinterpretation).
- Technical setup: arrange screening equipment, ensure access to licensed clips, and prepare additional materials like stills or quotes.
- Prepare presentations and materials (see Toolbox for inspiration).
Implementation
(6 hrs)
First workshop (Film Adaptations): 2–3 hrs
Second workshop (Today’s Film Canon): 3 hrs
(6 hrs)
First workshop (Film Adaptations): 2–3 hrs
Second workshop (Today’s Film Canon): 3 hrs
You can choose to run both workshops or just one of them. You can also reverse their order.
First workshop: Film Adaptations (2–3 hrs)
- Introduction (20 mins)
– Discuss the importance of film adaptation in modernising classical literature.
– Present key terms like creative betrayal, emotional resonance, and intercultural translation.
– Present methods for working with film adaptations in schools. - Screening & Discussion (60 mins)
– Screen pivotal scenes from selected adaptations.
– Facilitate group analysis of comparing the film scenes to their literary source texts.
– Discussion prompts: How are characters and themes altered? Does the adaptation evoke the same emotions? What modern elements are added? - Hands-On Activity (45 mins): Participants create their adaptation pitch.
– Select a classic text.
– Propose modern themes, settings, or formats.
– Draft a storyboard or logline for a short scene. - Wrap-Up (15 mins):
– Reflect on how adaptations can preserve and innovate cultural heritage.
– Collect feedback on what participants found most engaging or challenging.
Second workshop: Today’s Film Canon (3 hrs)
Make a case study based on a cannonical film from your country. In the Polish context, we suggest Innocent Sorcerers (Andrzej Wajda, 1960)
- Discussion (15 mins):
– Discuss what is considered a film classic.
– Provide context for the production of a selected canonical film from your country.
– Discuss how the film portrays the youth of its time. - Screening & Hands-On Activity (60 mins):
– Screen initial scene of the film that belongs to your national film canon.
– Facilitate group analysis of the scene.
Discussion:
• What does the initial scene tell us about main character?
• What attributes belong to the main character?
• What is their financial/social situation?
• Film form
– Participants put together their own film idea about contemporary youth according to the following points (individual activity or in groups):
• characters
• their attributes
• their financial/social situation
• places they go to
• their vernacular - Present Film Ideas Using Video Essay (90 mins) – optional
– Show your examples of video essays.
– Explain how participants can use a free editing program (e. g., CapCut) on their laptops or phones.
– Participants create short video moodboards (up to 2 mins) of their film projects using a video editing program and working with legal video and music files. This can be a solo or group activity.
– Participants present their film ideas and video moodboards.
Evaluation
(30 mins)
(30 mins)
- Feedback Forms: Distribute forms to assess the effectiveness of the workshop and gather suggestions.
- Showcase Projects: Share participant pitches and video essays in a gallery-style presentation or video compilation.
Films to watch
Zbrodnia i kara
Piotr Dumała
Poland
2000
34 mins
Innocent Sorcerers
Barbara Nałęcz-Nieniewska
Poland
1960
90 mins
Make it accessible for all
Accessibility removes barriers and offers multiple ways to understand, move, hear, and feel comfortable. To ensure accessibility for people who are deaf, hard of hearing, have mobility issues, cognitive disabilities, sensory sensitivities, or are non-native speakers of the workshop language, make sure to lead the workshop in a clear and accessible manner (subtitles, sign language interpretation, pictograms) and make it inclusive throughout: visual aids, appropriate lighting, comfortable seating, assistive listening devices, easy-to-use tools, calm environments to prevent sensory overload, and trained staff. It’s important to offer clear schedules in advance, use simple language, allow extra time, and create safe, quiet spaces when needed.
The signup process and all communication (email, SMS) should also be straightforward and open to applicants with special needs.
Thoughts & Experience
FOR ORGANIZATIONS
What organisations gain
Those working with youth:
- connect with young participants, learn about their views on art and life;
- showcase cultural programming that appeals to modern sensibilities;
- Promote interdisciplinary learning by combining literature and film studies.
Those working with teachers/educators/animators:
- improve film skills in the fields of film analysis, film language, editing, history of film and media;
- build an expert position related to film education;
- atttract a broader audience, from educators to cinema enthusiasts.
Team requirements
- 1–2 workshop leaders (one person per workshop; workshop can have multiple parts or sessions, one leader is needed for each)
- organisational coordinator (finances, technical aspects, promotion, and participant recruitment) if the workshop does not take place in a school setting.
Funding tips
If held in schools:
- use school funds allocated for additional activities or film clubs (subsidies or Parent-Teacher Association funds)
- This workshop can be a part of a literature or foreign language classes (in that case, no funding needed)
If held in different settings:
- public institutions in the city or village (financed from local government funds) can use their own sources of financing or apply for grants (e.g., state grants)
- art house cinemas, e. g., as part of their educational activities within the Europa Cinemas network, or in Poland within the Association of Art House Cinemas
- city or national grants from non-governmental organisations
- include the workshops in the programme of the local cultural centres or similar institutions, which can allocate their statutory funds for their implementation
Promotion tips
- send a newsletter to the organisations/educators you are cooperating with;
- highlight what participants gain from your workshop, such as getting to create their own film, a public screening (if relevant);
- recruit participants personally;
- use social media hashtags like #FilmAdaptation #RevitalizingClassics;
- email school teachers directly
- offer incentives, such as certificates of participation or a showcase of attendee projects.
Find your audience
The workshop participants are young people aged 12+ or adults, i. e., teachers and educators. It can be a mixed-age group.
Target high school students, college students, educators, and cinephiles. Create tailored sessions for schools or community centers to encourage accessibility.
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