Curriculum fit
This activity can be used in schools to teach the following subjects and skills:
a) Primary Schools (students aged 11–14)
- Literary and Cultural Education
– recognise types of texts
– find key information (explicit/implicit)
– identify main ideas and structure in cultural texts
– separate facts from opinions
– understand different types of culture (literature, film, theatre, art)
– compare original texts and adaptations
– relate texts to personal experience
– watch films and plays with understanding
– use sources and tech to find and assess information - Civic Education
– understand media types and free speech
– spot facts vs. opinions in media
– analyse social campaigns
– read and understand public opinion data - Computer Science
– use devices to record and edit content
– search, communicate, and work online
– understand privacy, copyright, and data safety
– make multimedia projects
– critically fact-check online information
– understand digital ethics and licenses
b) High Schools (14+)
Literary and Cultural Education
– analyse and organise information
– understand structure, arguments, hidden messages
– recognize types of text (e.g. article, speech, essay)
– learn the difference between high and pop culture
– use digital tools, hypertext, and multimedia for learning
Civic Education
– know how communication and media work
– understand media responsibility and digital change
Computer Science
– use new tech tools
– work in IT teams and present projects
– follow online safety rules and copyright laws
About the activity
In cinematography, the technique of using archives and materials originally made by someone else is called found footage. Filmmakers love this method because it is incredibly creative and as such it generates new stories. Our workshops develop tools for film analysis and filmmaking based on the principle that each of us is creative and has a story to tell, and in a unique way. We will learn elements of knowledge about the history of film and media, as well as the creative (and sometimes manipulative) role of editing. We will also talk about copyright issues, the legal status of our sources, and the ethics of repurposing them.
We’ve put together a short quiz so you can test your film knowledge after the activity – check it out!
What participants gain
- stimulation of creativity and critical thinking
- develop the ability to analyse film language
- engage in discussions on socio-political, philosophical, value-related topics, and issues related to psychoeducation, which we understand as a process of learning about our mind and emotions and how they work, as well as effective strategies for coping with difficulties (as shown in the films)
- understand the function of editing in audiovisual communication
- learn how to use basic editing tools, their use and meaning in film
- develop the ability to work in groups, negotiate ideas, and search for solutions together
- learn the history of film and media (depending on the material selected for the query)
- knowledge of issues related to copyright and the legality of sources
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What educators gain
As participants in workshops:
- stimulate creativity and critical thinking;
- develop the ability to analyse film language;
- engage in discussions on socio-political, philosophical, value-related topics, and issues related to psychoeducation, which we understand as a process of learning about our mind and emotions and how they work, as well as effective strategies for coping with difficulties (as shown in the films);;
- understand the function of editing in audiovisual communication; learn how to use basic editing tools, their use and meaning in film;
- develop the ability to work in groups, negotiate ideas, and search for solutions together;
- learn the history of film and media (depending on the material selected for the query);
- knowledge of issues related to copyright and the legality of sources.
As workshop leaders:
- learn how to put students’ technical skills to use in the workshop (film editing, phone and desktop editing apps, internet searches);
- a way to engage the entire group in creative and critical action;
- how to use film in discussions on socio-political, philosophical, value-related topics, and issues related to psychoeducation (as shown in the films);
- a way to address matters both personal and universal;
- proposals for project work, strengthening group processes;
- cyclical sessions that can be carried out as part of extracurricular classes in schools, interest clubs, film clubs, film studios, art classes etc.;
- ideas for international exchanges and/or projects;
- an idea for promoting your school and/or institution.
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Resources
Venue requirements
- a room with internet access and enough space to set up a laptop for each participant (or for two/three-person groups), and power extension cords
Technology
- laptops (participants own, or loaned by the venue)
- editing software: we recommend using the free CapCut version, online (resembles Canva) or desktop (recommended as it has more options)
Supplies
- flip chart, post-its, markers, and sheets of paper for notetaking
- selection of audiovisual materials (in the form of files to download to your own computer) – see sample found footage catalogue (catalogue 1) in Toolbox
Step by Step
Preparation
(10–20 hrs)
(10–20 hrs)
- Download your editing software: we recommend CapCut, which is pretty straightforward. Familiarise yourself with its main functions (try YouTube tutorials). This can take 2 to 10 hours depending on your skills and experience.
- Download and catalogue a selection of materials for editing: see Toolbox section for Copyright and Open Resources (presentation 3) and for a sample catalogue, which we used at the 2024 Film Camps for Teachers workshops: Sample found footage catalogue (catalogue 1). This part may take several hours. The film files should be easy to share with everyone (e.g., Google Drive).
- Put together a list of topics for the films that you will make during the workshops based on the particular interest(s) of your group, or around what they are learning at school. Examples: democracy, freedom, community, cooperation, individualism, capitalism, depression, climate crisis, etc.
- Prepare your presentations and study materials: include an introduction to the found footage method and its history (see sample presentation in Toolbox: Found Footage (presentation 1), as well as a few film examples for inspiration (see Film Suggestions)
Implementation
(22–32 hrs)
(22–32 hrs)
First meeting (2 to 3 hrs):
- Introduction to the found footage method and its place in the history of cinema (you can use the Toolbox sample presentation: Found Footage (presentation 1), explaining things like:
– What is found footage?
– disputes about the genre
– genesis of the method
– subtypes of the method
– What constitutes found footage?
– forms and techniques
– the role of film editing - Joint screening of examples of films using the found footage method (see Film Suggestions and Toolbox)
- Joint analysis of examples using the following questions:
– What found footage materials were used here?
– How are they combined/edited with other materials?
– What meanings do these combinations build? What purpose do these connections serve? What interpretations do they evoke? How do they affect emotions? - Presentation of the workshop objectives & workshop plan
Second meeting (2 hrs):
- Put together house rules (write them on a flipchart & keep them visible throughout)
- Discuss the desired outcome of the workshop & how long should the student films be (first attempts: 3 mins?). Discuss whether to present the outcomes publicly.
- What will group work look like? Split participants into two- or three-person groups
- Discuss the film topics together, as well as their contexts, meanings, your associations, and write them on the flipchart.
Third meeting (3 to 4 hrs):
- Watch the found footage material together. You will use it to make your films in the following sessions. Point out that all of it can be freely used and modified (subject of license or the public domain). Discuss and analyse the materials as you watch them, asking questions such as:
– What is the found footage about? What is happening in the scene? What formal properties does it have?
– How was the scene made? What is the composition and camera perspective? How was it edited? What shots were used?
Sometimes it is helpful to pause the film and watch the scene again and again. Don’t forget to connect it to the main theme: how can the selected found footage be interpreted in terms of theme, form, content? - In subgroups, discuss your concept: What is your film about? Is it telling a story, or is it abstract, or an association? What is the topic? What materials were combined, and how?
The film concept should be written down in the form of a draft.
Fourth meeting (3 to 4 hrs):
- In groups, analyse and discuss film concepts and drafts: for instance, what film materials were chosen to tell the story and illustrate the theme.
- Introduction to film editing (see sample presentation in Toolbox: Editing, presentation 2):
– basic types of editing;
– editing techniques;
– editing is where cutting is more important than effects (transitions, special effects, etc.);
– discuss your software (we recommend CapCut). Each group goes through the basic functionalities: importing material, timeline placing, cutting, removing material, combining materials, exporting, etc.; – you can also watch a tutorial together and go through the instructions. - Copyright and open resources (see presentation available in Toolbox: Copyright and Open Resources, presentation 3)
– defining copyright
– the public domain
– Creative Commons
– open resources as materials - In subgroups, start editing
Fifth meeting (3 to 4 hrs): in groups, continue working on editing (you may allow participants to use their own archives, or the internet, provided they meet all legal requirements)
Sixth meeting (3 to 4 hrs): in subgroups, continue working on editing (you may allow participants to use their own archives, or the internet, provided they meet all legal requirements)
Seventh meeting (3 to 4 hrs):
- Finish up editing work
- Put together soundtrack and music (provided they meet all legal requirements)
- Add effects to the image and sound
Eighth meeting (3 to 4 hrs):
- Prepare end credits, together with a description of the materials used
- Export films
- Screen films together, followed by a discussion, feedback, and suggestions for improvement (from workshop leader, fellow students)
- Implement corrections
- Final export
Ninth meeting (3 hrs, optional): public screening of the films
Evaluation
(optional) – 1 hour
(optional) – 1 hour
Participants share their reflections on the knowledge and experiences gained.
Films to watch
Królik po berlińsku (Rabbit à la Berlin)
Bartosz Konopka
Poland
2009
50 mins
Report
Bruce Conner
USA
1967
13 mins
View film:
In the process of purchasing a license on filmnest.pl (FVOD)
Noc i mgła (Night and Fog)
Alan Resnais
France
1955
32 mins
View film:
In the process of purchasing a license on filmnest.pl (FVOD)
Po-lin. Okruchy pamięci (Po-lin. Slivers of Memory)
Jolanta Dylewska
Poland
2008
82 mins
View film:
In the process of purchasing a license on filmnest.pl (FVOD)
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
What we created
FOR ORGANIZATIONS
What organisations gain
Those working with youth:
- cyclical classes based which mirror the creative process;
- results can be presented to the public;
- a programme that can connect different age groups (12 and older);
- a proposal for the use of modern tools and technology (for film editing, post-production, searching for resources, etc.).
Those working with teachers/educators/animators:
- improvement of skills in the fields of filmmaking, analysis of film language, editing, history of film and media;
- build an expert position in film education;
- get an image of a modern institution that uses cutting-edge tools and technology to empower your teachers (in editing film, post-production, resource search, etc.);
- address the use of the internet as a resource, uses of copyright, legality of sources (building awareness in this area);
- building a stronger educational team (workshops are based on group work and group processes);
- results can be presented to the public.
Team requirements
- depending on the size of the group, 1 or 2 workshop leaders (1 leader for max. 12 participants; 2 leaders for max. 20 participants)
- technical support during the workshops
- a coordinator if the workshop is held outside a school setting (to take care of the finances, technical requirements, promotion, and finding an audience).
Funding tips
If held at schools:
- use school funds allocated for additional activities or film clubs (subsidies or Parent-Teacher Association funds).
- incorporate the workshops into after-school classes on site.
If held in different settings:
- local government funds designated for cultural activities.
- support from art house cinemas, e.g., as part of educational activities within the Europa Cinemas network.
- grants from non-governmental organizations or local cultural centres.
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 #foundfootage #archives #editing #filmanalysis.
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, though participants ought to share a common interest in creating films, building their own film statements, and basic skills in film language analysis. Technical skills related to film editing are useful but not necessary; if skill levels are considerably mixed, divide participants into mixed-level subgroups so that they can learn from each other, and support each other.
Find your potential participants:
- at school: students aged 12 or older at their extracurricular activities or film clubs
- outside of school: young people in cultural centres, film clubs in cinemas, already participating in other projects of non-governmental organizations and institutions, attending film festivals and other film-related activities; teachers or educators in training, members of film education teams in schools or interschool teams.
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