Curriculum fit
We suggest you implement the methodology as part of your school subjects such as Media Education, IT, or Arts and Culture. The methodology can be implemented also through standalone projects, seminars, teaching blocks, courses, and similar methods.
The students will:
- learn how not to consume, but understand, analyze, critically approach and create media content;
- learn to see editing as a unique film language;
- strengthen their ability to create a powerful and engaging story and to communicate an idea through images without words;
practice abstract thinking; - learn how to work with information technology (editing software), from searching for material, viewing, importing and exporting files, video formats, to video editing.
About the activity
From the Eiffel Tower to Mount Everest in a split second? Jumping from the past to the future? The same face, but a different emotion every time? Often, we are fully unaware of film editing – it doesn’t use words and keeps a low profile. Yet it’s an essential tool of cinematic language which controls the rhythm of the film, creates tension, meaning, or evokes emotion. In its early days, the film cut was used as a trick in magic shows. In this two-day workshop you will uncover its magic, play with its endless possibilities, and create your own editing experiments.
The aim of the workshop is to show the different uses of the cut and how its composition can influence the rhythm of a film, the audience’s emotions or understanding of meaning. We approach the cut here as a means that is typical of film language and can express ideas without the use of words. The workshop turns theoretical knowledge into practice in an interactive way, letting you create and discover playfully the possibilities of editing in experimental new ways. When talking about film history and playing excerpts, you may suggest multiple links between the past and present, keeping the kids’ attention by offering familiarity.
We’ve put together a short quiz so you can test your film knowledge after the activity – check it out!
What participants gain
- a basic knowledge of the history of film editing and its use from early cinema to the present day;
- the ability to read the editing process behind a film, using film examples to describe what editing does and how it affects our perception;
- the experience of editing audiovisual material into a short film of their own;
- the experience of working with information technology (editing software, searching for material, viewing, importing and exporting files, video formats, video editing).
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What educators gain
- learn something new about film editing;
- spark children’s interest in a lesser-known field;
- increase children’s interest in film;
- teach children a new technical skill;
- benefit the cultural community;
- combine innovation with pedagogy (practical and theoretical activities, structured group work).
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Resources
Venue requirements
- a computer room (at least for the second day of the workshop)
- a chair and table for each participant and tutor
- a flipchart or whiteboard
- a space outside the computer room for catering/snacks (optional)
Technology
- at least three smartphones with a Camera app that allows pausing during video recording (participants may use their own devices).
- each participant and tutor should have access to a computer or laptop with an internet connection. If resources are limited, one device can be shared between two participants, or tablets may be used as an alternative.
- a projector
- a projection screen or a large enough blank white wall
- we recommend the online freeware application Canva for video editing. Other simple editing tools may also be used, provided the lecturer is familiar with them, they are available on all participant devices, and they include access to a library of copyright-free videos.
Supplies
- stationery (pens, pencils)
- clean papers
- film clips
- flipchart markers
Step by Step
Day One
Preparation
(3 hrs)
(3 hrs)
Note: Begin preparing for the workshop well in advance. If you need to review the supporting educational materials from the Toolbox, be sure to allocate additional time. It’s important to become thoroughly familiar with the film references. Some of the films are analysed in the supporting materials, which can serve as a source of inspiration.
- Before the workshop, prepare a selection of references that you will work with, along with their timestamps. For the first activity, where kids count the number of cuts in a scene, prepare one action scene (a fight, chase, etc.), one calmer scene (conversation), and a one-shot scene (no cuts). Count the cuts in each of the scenes beforehand and record the numbers. – 30 mins
- Print out the materials for practicing the Kuleshov effect from the Toolbox. Cut out the pictures. – 20 mins
- Keep in mind that participants will need to be logged in to work online in Canva. Create accounts well ahead for all registered participants or test to see if the app works for you on multiple devices even with one shared account. The freeware version of Canva has limited features and videos from the copyright-free stock, but it can still work. – 30 min
- Familiarise yourself in advance with the technical equipment of the room in which the workshop will be held. Check that all computers/laptops/tablets are working. Download the story cheat sheet with idea suggestions onto every device. Create a shared folder on Google Drive or similar for the participants’ videos. – 60 mins
- Tell participants in advance that they will need a smartphone for the workshop and make sure that there will be at least three smartphones at the workshop.
- On the day of the workshop, get there early. Participants will not need the computers just yet. Prepare and check the connection between your computer and the projector. Check your internet connection. – 15 mins
- Prepare your film references: either open them in browser tabs or have your files ready. Try to save as much time as possible, avoid searching for particular references during the workshop. – 10 mins
- Prepare a flipchart/whiteboard and put papers and writing utensils on tables for all participants. – 5 mins
Implementation
(4 hrs)
(4 hrs)
- Get to know each other. (TIP: Encourage everyone to say a few words about themselves, starting with yourself. Say your name and why you decided to run the workshop. Add a film question such as favourite film, series, character etc.) – 10 mins
- Introduce the workshop and describe its different parts. You can also describe the desired outcome. (TIP: A visible outline helps children track the progress of the work.) – 5 min
- Explain what film editing is after letting the participants try to explain it in their own words first. – 5 mins
- Activity: Show your group how to notice a cut. Play three short film clips: an action scene with dense cuts, a calm talking scene, and a one-shot scene with no cuts. Have the participants count the cuts. Don’t ask about interpretations just yet. The result should be fun – the participants are likely to each arrive at a different number of cuts for the fast-paced scenes. Getting the correct number is not the point; this is just a warm-up to get them started, to help them tune in to the editing process, to realise how often we overlook it, but also to find the courage to interact. – 10 min
- Film reference: The use of editing in early cinema. Using examples from films of the Brighton School and Georges Méliès, explain the use of editing for tricks or funny gags. Explain how a stop-trick works, explaining that the cut was meant to be hidden from the audience, as it was the only way for the trick to work. You may also put the films in context and briefly mention their authors, but steer clear of long lecturing. – 15 mins
- Activity: Divide the participants into groups of 2–4 with at least one smartphone in each group. Instruct the groups to make a short video using stop-motion (they can make an object disappear, a person disappear, make an object change into something else, etc.). At the end, watch the videos together. – 15 mins
- Short break – 10 mins
- After the break, ask the group which scene cuts were the easiest and the hardest to count. Describe how editing in a film can fundamentally affect rhythm, emotion, and meaning through shot selection, order, and timing. You can write these concepts on the board so as to keep them in mind. – 10 mins
- (OPTIONAL) Briefly explain the historical context of the Soviet montage school. Mention Sergei Eisenstein, Lev Kuleshov, Dziga Vertov, but keep it short. (TIP: Some participants, especially of Ukrainian descent, may feel uncomfortable hearing the word “Soviet”. Try to avoid the adjective “Soviet” until you explain the context. Keep in mind the propaganda films made at the time, and the need to stay critical of the content while appreciating the innovation of the form, and its continued influence on cinema today) – 10 mins
- Show the famous Odessa Steps scene from Battleship Potemkin (1925, timestamp 47:00–54:30). Put the scene in context and briefly outline the plot. Tell the participants to try to think about the analytical framework – rhythm, emotion, and meaning – as they watch the scene. Ask them: “What shots are being combined in the scene? Is there anything that surprises you about the combinations? How do you perceive time while watching the scene? When do you feel the most suspense during the scene? What influences your feelings as you watch?” – 5 mins
- Film reference: Play an excerpt from Battleship Potemkin. – 10 min
- Discussion: Ask the participants about the scene. If nobody speaks, guide them further by asking, “What shots are being combined in the scene? Is there anything that surprises you about the combinations? How do you perceive time while watching the scene? When do you feel the most suspense during the scene? How did the soundtrack inform your perception?” – 10 mins
- (OPTIONAL) If time permits and everyone is still focused, play the Battleship Potemkin excerpt one more time. Watching the same clip again after the discussion can help the kids remember what they’ve learned. – 10 mins
- Discussion: Ask the participants if they can think of any film scene where editing is used in a similar way. Try to find their responses on YouTube, play them, then discuss as before. – 15 mins
- If there aren’t any ideas, play something yourself. Choose a more popular film with a chase or fight scene (TIP: opening scene of Baby Driver, 2017). Remind your group to think once again about the three aspects (see 8) and the guiding questions (see 9) as they watch the excerpt. – 10 mins
- Discussion: Ask the participants about the clip. If nobody says anything, try the questions (12) again. – 10 mins
- Short break– 10 mins
- Let the participants explain in their own words how editing can influence our emotions and the meaning we ascribe to a film. – 2 mins
- Introduce the Kuleshov effect and show it in a film reference. – 5 mins
- Activity: Spread out prints of film stills from the Toolbox and practice the Kuleshov effect. Each group chooses three copies of the same film still and three different pictures. Students work in groups to put together three shot combinations. Each one starts with the same first shot, followed by a different second image. After they’ve finished, ask them what each pairing communicates, what changes between versions, and how the context of the scene shifts. – 10 mins
- Introduce the concept of intellectual montage. Explain that editing can convey abstract ideas like metaphors or symbolic meanings beyond the image on screen. Use the Odessa Opera House bombing scene from Battleship Potemkin (timestamp 54:30–55:07) as an example. Then, ask the students how they would interpret the scene and what ideas or emotions it brings up for them. – 10 mins
- Film reference: Show a more contemporary use of intellectual montage, such as the thrown bone scene from 2001: A Space Odyssey. Again, have the students interpret it. (TIP: Use popular material that the young participants may be familiar with, such as the teaser for Barbie (2023), then connect it to 2001: A Space Odyssey). – 15 mins
- Film reference: Once everyone understands montage and is able to interpret the film excerpts including their abstract meaning, explain how editing can be used to strip the plot from the characters or setting in the experimental film Final Cut: Ladies and Gentlemen (2012). Play a short excerpt from the film and prep the students for next day, when they will be invited to create something similar. – 15 mins
- Ask the group how many main characters there are in Final Cut, how many actors play them, and what the plot is about. They should be able to understand that the editing shapes the plot. It doesn’t matter how many actors play the main characters: our mind can still patch up a coherent story. – 5 mins
Evaluation
(10 mins)
(10 mins)
- Thank the participants for their work and evaluate the workshop. Ask participants what they liked best and what they disliked. Invite suggestions on how to make the workshop better. – 10 mins
- If relevant, remind the group of next day’s meeting point before leaving, and ask them to start thinking about a short story they would like to edit. – 2 mins
Day Two
Preparation
(30 mins)
(30 mins)
- Arrive at the meeting point ahead of time. Set up computers/laptops/tablets in the computer room for all participants. Check the internet connection and open Canva (or other editing program of your choice) on all devices. Log into your account on each of the devices. Open a shared folder (such as Google Drive) to upload completed projects. Prepare and check the connection between your computer and the projector. – 20 mins
- Set up writing supplies on all the desks. – 5 mins
- Prepare the flipchart (board) and markers. – 5 mins
Implementation
(3–3.5 hrs)
(3–3.5 hrs)
- Welcome the group, ask how they’re feeling and what they remember from yesterday’s session. – 10 mins
- Remind the participants of any other important information or facts that they haven’t mentioned. – 5 min
- Introduce the group to Canva (or another program you’re using). Show them the basic functions (how to import video files, transfer video files to the timeline, edit a video, delete a video from the timeline, move videos around the timeline in different ways, add music to the timeline). – 20 mins
- Activity: Ask the students to use stock videos for a Kuleshov experiment in three different variations, using a maximum of two shots in each variation, where one of them is the same every time. Help them by writing these rules on the board. Give them enough time to choose the clips, then let them work independently. – 20 mins
- Show the group how to export the finished videos. Have them upload the finished videos to the shared storage. – 10 mins
- Short break, during which you can set up the videos to be screened from your device. – 10 mins
- Presentation. Together, watch all the videos the students have created. – 15 mins
- Explain that now everyone will create their own short film using similar techniques as in Final Cut (2012). Play the excerpt again (optional). The students can come up with their own stories, or adapt ideas from the Toolbox. – 10 min
- Activity. Ask the participants to edit their films using Canva’s online stock footage. The videos shouldn’t be longer than 5 minutes. Give students enough time for this, walking around and helping on request. – 40 mins
- Ask the students to export their films and upload them to the shared folder. – 5 mins
- Presentation: Together, watch all the films. – 20–30 mins
Evaluation
(15–20 mins)
(15–20 mins)
- Thank the participants for their work and evaluate the workshop. Ask participants what they liked best and what they disliked. . Invite suggestions on how to make the workshop better. – 10 mins
- Make sure every participant gets their final project sent to them to keep – this is essential. – 5 mins
Films to watch
Early Film Editing
Soviet Montage School
October: Ten Days that Shook the World
Sergei M. Eisenstein, Gregori Aleksandrov
USSR
1928
95 mins
Battleship Potemkin
Sergei M. Eisenstein
USSR
1925
105 mins
The Kuleshov effect
Other films
Final Cut: Ladies and Gentlemen
György Pálfi
Hungary
2012
84 mins
Make it accessible for all
This workshop is challenging in several ways – it requires a lot of resources, it’s quite heavy in theory and long in duration, and assumes basic technology skills. It also requires language skills, especially when searching for Canva stock videos via keywords. Check our accessibility manual to make your workshop as inclusive as possible.
When implementing the workshop, consider the individual needs and abilities of the participants. Observe your group and if you see anyone struggling, consider omitting the theoretical and optional parts. Spend more time on activities where children can be creative or move around the room. Use clear and concise language and a sentence structure that is accessible to all participants.
If the language of the workshop is a foreign or second language for some of the participants, check our cheat sheet in the Toolbox and have it translated into their first language. Keep in mind that they may need further help with the keywords in Canvas. Invite teaching or inclusion assistants to make sure no one is left out or behind.
Thoughts & Experience
What we created
FOR ORGANIZATIONS
What organisations gain
- the opportunity to reach wider and young audiences
- short video clips for promotion
Team requirements
- The workshop requires one lecturer or teacher who understands film editing. In-depth film theory knowledge is not necessary but you should be able to conduct the workshop based on the materials available in the Toolbox.
- We strongly recommend hiring a teaching assistant. There is a lot of independent work, and having an extra person helping children go through the assignments can prove very beneficial.
- If the workshop participants include children with special needs (from any disadvantaged group), it is advisable to hire an inclusion assistant/guide who will be fully dedicated to the group, ensuring that all children have as equal and full an experience of the workshop as possible.
- Someone to help with the workshop production and/or promotion.
Funding tips
Before the implementation, it is a good idea to think about the financial coverage of the following expenses:
- lecturer’s fee
- technical support
- inclusive assistant fee (if relevant)
- teaching assistant fee (if relevant)
- Canva PRO or other editing software licence (optional)
- venue rental
- equipment
- catering (optional)
- film screening fee (if necessary)
The topic of the workshop is directly related to audiovisual production. If you are an organisation, you can use funds or subsidies from structures supporting activities in the audiovisual industry. Or, if there’s a film festival or a showcase nearby, it might be a good idea to invite them to co-organise the workshop. Apart from better promotion, such collaboration can also help with technical support or to cover some portion of the expenses. Consider working with local schools, either by organising the workshop directly for them or by renting a venue. Schools usually have both computer rooms and technology that they would be able to provide you with for the workshop.
Promotion tips
- use any channel available (workshop organizer’s website, social media, newsletter or email invitations)
- create a registration form for people to sign up
- promote the workshop enough in advance to reach people organically
- consider paid advertising on social media (depending on your budget)
- in the description, be clear about what the workshop is about, when and where it will be held, and who it’s for
- post a video invitation from the lecturer or organisation member two or three days before the date
- flyers, posters, radio & newspaper ads (also online)
Find your audience
If your workshop is for younger participants, you can advertise it by contacting teachers, principals, or parents. With teenage students, it’s best to approach either their class teacher or teachers of subjects, as they have a direct impact on students. The workshop may also appeal to students of after-class theatre or drama clubs. Direct email contact is also an option. For example, you can ask clubs to include your ad in their regular newsletter to their subscribers.
Consider putting up posters in schools, cinemas, leisure centres, cafes, bookshops and others.
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