FILMMAKING FOR YOUNGER TEENS

1st Session: Introduction and Welcome (4 hrs)

• introduce the workshop and welcome participants;
• have a discussion about favourite film genres;
• briefly discuss the basics of filmmaking, including genres, storytelling, and technical features;
  discuss the beginnings of film, film language, and the rise of silent film;
• screen short silent-film clips by pioneer filmmakers: the Manaki Brothers, the Lumiere Brothers, Georges Méliès, D.W. Griffith, Charlie Chaplin, Buster Keaton, Fritz Lang, Sergei Eisenstein, etc.
• pre-cinema equipment in use- the praxinoscope, phenakistiscope, and zoetrope
• discuss one of the first superheroes (Fantômas), horror and suspense in inserts from Murnau’s Nosferatu; examples of set design and special effects in inserts from Lang’s Metropolis; the comedy genre (Charlie Chaplin, Buster Keaton).
  for more information about the basics of filmmaking, see Toolbox
• short break
• film screening: Compilation: Trick Films (1902–1911)

2nd Session: Film History (4 hrs)

• discuss the emergence of sound film, Hollywood, and the film industry & film in the digital era;
• overview of national film history and development;
• visit a local film archive and learn more about film heritage;
• discuss briefly the short films you’re about to create: film crew expectations and roles based on participants’ interests and experience;
  review film inserts from the early sound era, such as works by John Ford, Howard Hawks, and Orson Welles;
  for more information about the history of film, see Toolbox.
• short break
• film screening: Early films like Le Voyage dans la Lune, the Lumière brothers’ compilations, or Intolerance (dir. D.W. Griffit) are all great examples of the birth of cinema. These films are not only entertaining but also educational, showing how filmmakers first began to experiment with storytelling, camera movement, editing, and special effects.

3rd Session: Essential Film Language (4 hrs)

• a presentation by the lecturer/guest (local director, film expert, film lecturer)
• discuss frame, shot, cut, scene, sequence, close-up, medium close-up, camera angles, formats, lenses, and how these elements are used to tell a story in film.
• short break
• film screening: The 400 Blows by François Truffaut. This is a deeply personal and emotional film that portrays the struggles of a young boy while exploring the themes of youth, rebellion, and alienation with honesty and sensitivity. Its realistic style and heartfelt storytelling make it especially relatable for teenagers, encouraging empathy and reflection.

4th Session: Camera and Camera Movement (4 hrs)

• a presentation by the lecturer/guest: cinematographer
• a discussion of camera set-up, movements, angles, and shots (with guest)
• a discussion about focus, frame, and changing lenses, character movement, and mise-en-scène
• watch film clips and discuss the practical interpretation
• for more information about camera and camera movement, see Toolbox
• short break
• Practice: use of camera, shooting scenes

5th Session: Editing (4 hrs)

• a presentation by the lecturer/guest: editor
• teach history and theory of film editing by showing example clips
• discuss the different types of film editing
• for more information about editing, see Toolbox
• introduction to film-editing software (Adobe Premiere Pro, DaVinci Resolve, Final Cut Pro etc.)
• short break
• practical work and film screening, script development, talk about film ideas and the process of turning an idea into a story, and how the editing process is like storytelling
• film screening: The NeverEnding Story by Wolfgang Petersen. A cult fantasy film perfect for showing how editing bridges the real and imaginary worlds, enhancing its magical
  narrative flow.

6th Session: Script and Story Development (4 hours)

• discuss how we turn an idea into a story and a film script with mentors such as screenwriters and directors
• practical script development and preparation for filming: dividing the participants (12) into groups (3). For more inspiration on the screenwriting workshop, please visit the “Write Your Own Story” activity.
• create a storyboard to visualise the scenes
• technical preparations (e. g., make a plan for positioning the scenes)
• scout for locations – give tips on how to find locations
• for more information about storyboards and script writing, see Toolbox
• short break
• film screening: E. T. the Extra-Terrestrial by Steven Spielberg. E. T. is an example of a well-structured narrative with clear emotional development. Its blend of adventure and empathy makes it an ideal example for teaching script and story development to young audiences.

7th Session: Story Development and Shooting (4 hrs)

• help participants revise film scripts, add or remove scenes in the filming plan;
• define what works and what doesn’t work for the final film (participants work with directors, producers, casting managers, etc. and two mentors are needed alongside the lecturer);
• discuss how the director and actors work together;
• let the actors prepare for their parts in the film;
• do a group assessment as a film crew (define and delegate crew roles, explain choice of film role, talk about the challenges and difficulties in doing so, offer support and encouragement;
• start shooting the first scenes, set up a scene shooting rhythm, keep track of time.
• short break
• film screening: Le ballon rouge by Albert Lamorisse. This is one of the most iconic short films in the history of cinema. Without relying on dialogue, the film communicates deep emotion and meaning through visual storytelling using expressive shots, movement, colour, and music.

8th Session: Story Development and Shooting (4 hrs)

• costume rehearsals
• discuss how the director and actors work together;
• let the actors prepare for their parts in the film;
• filming scenes (camera operator and/or director and/or mentor required). To dive more into shooting techniques, visit the “Film With Your Smartphone!” activity.
• do a group assessment as a film crew
• short break
• start the editing process, follow the storyline, and work with a mentor for editing (two mentors – an editor and a director – are needed to work alongside the workshop lecturer)

9th Session: Story Development and Shooting (4 hrs)

• review the filmed material, talk about upcoming scenes;
• inform the actors and crew about changes (if any) – the mentor should supervise the crew’s work and help complete the scenes
• short break
• continue the editing process, follow the storyline, and edit with the help of a mentor – two mentors (editor & required) are needed to work alongside the workshop lecturer, dividing up the workload as needed
• one group shoots film, the others work on editing

10th Sesion: Official premiere of the students’ short films (3 hrs)

• plan the screening of the films as an important event at a real cinema, inviting participants’ friends and family