Curriculum fit
We suggest you incorporate the workshop in your school subjects such as Language and Communication, Arts and Culture or Media Education. It can also be worked in through standalone projects, seminars, teaching blocks, courses, and similar methods. The students will learn:
- how not to consume but rather understand, analyse, critically approach and create media or literary content;
- how to successfully adapt a story;
- to better understand story structure and character motivations.
About the activity
Many teachers who appreciate film and the audiovisual arts, and would like to use their potential in the classroom, don’t know where to start. They often assume that working competently with films requires specialized education or that they must teach art subjects. But as you’ll see, nothing could be further from the truth. Even basic film theory and practice can empower teachers to help their students discover, create, and experiment with audiovisual works.
This two-year programme is designed for cultural and educational organisations, principals, and teachers looking for support. It offers regular theoretical and practical sessions, discussions, and workshops with professional filmmakers. The goal is to equip participants with methods for analysing and understanding audiovisual works, focusing especially on how to use film and audiovisual content in the classroom to foster critical thinking, creativity and aesthetic sensibility, discuss a variety of issues, and develop audiovisual literacy and technical skills.
We’ve put together a short quiz so you can test your film knowledge after the activity – check it out!
What participants gain
- theoretical and practical introduction to filmmaking and film analysis;
- introduction to different audiovisual genres;
- critical insight into audiovisual works within their historical and social context;
- learn to use audiovisual content in the classroom;
- learn to lead film education discussion about audiovisual works;
- learn to mentor children and young people in creative film making processes;
- networking opportunities with other educators;
- inspiration to expand teaching practice with progressive methods.
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What educators gain
- an opportunity to highlight the need for stories in our lives;
- developing a vocabulary of characters and personality types (Toolbox);
- skill in leading and coordinating group work.
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Resources
Venue requirements
- a movie theatre or a room with a good projector, chairs and screen
- a workshop space
Technology
- film screen
- film projector
- sound equipment, microphones
- laptops
- cell phones
- DaVinci Resolve editing software (free)
- CupCut editing app (free)
Supplies
- pen and paper
Step by Step
Preparation
(40 hrs)
(40 hrs)
Think about your Film Academy. What topics would you like to explore? How long should it run for? Set dates for individual discussions/workshops that would accommodate teachers’ schedules. Begin preparation at least two months before the start date and keep planning in advance as you go.
- Recommended cycle length: 2 years
- Recommended number of workshops: 8
- Recommended workshop duration: 3–4 hours
- Recommended workshop times: weekday evenings, 6–10 p.m.
- In the application, assess the participants’ preferences and experience levels. Tailor the programme to meet their needs.
- The programme includes both theory and practice.
- It is important for teachers to gain hands-on filmmaking experience and learn how to transfer their knowledge and skills to the classroom.
- Remember to schedule breaks and arrange refreshments.
- Arrange a host – or be the host!
Lecturers - Invite professional filmmakers, film theorists or teachers with experience in film/audiovisual education.
- Arrange the format of discussions and workshops with each instructor.
- Instructors come up with their own discussion/workshop content and structure.
- Consult the final structure with the lecturers and tweak the details.
Theory
- Organise 3 discussions with renowned filmmakers about their profession, film genre and the potential of films in teaching.
- Individual discussions should focus on audiovisual genres that are relevant for teachers and students, such as feature films, documentary films, online and YouTube content creation.
- Explain how to transfer these new skills to classroom settings.
- Instructors should be well-known and acclaimed filmmakers who will inspire and motivate participating teachers.
Practice
- Organise 5 hands-on filmmaking and film analysis workshops.
- Focus on basic areas – screenwriting, editing, animation, sound, film analysis.
- If you shoot films/videos, make sure to arrange a sufficient number of cast members – participants, volunteering colleagues, etc.
- Invite experienced filmmakers, film theorists or audiovisual education teachers to lead the sessions.
Implementation
(30 hrs over 2 years)
(30 hrs over 2 years)
- Draw inspiration from our programme (see below).
- All events should be organised through mutual discussion between participants and instructors.
Theory (12 hrs)
Discussion Structure
- Introduction (host + lecturer)
• welcome the participants
• overview of the Film Academy programme and schedule
• instructor introduction
• overview of discussion format - Main Programme (lecturer)
- Conclusion (host + lecturer)
• thank the instructor and participants
• announce the dates and topic for the next session - Screening of the lecturer’s film (host + lecturer)
• introduction to the lecturer’s film
• If the lecturer stays for the screening, they can discuss the film with the audience afterwards
• farewells
Discussion 1: Documentary Filmmaking (4 hrs)
The lecturer: a filmmaker, screenwriter, or audiovisual education teacher
- perspectives on being a documentary filmmaker and audiovisual education teacher;
- the documentary film genre and its potential in the classroom;
- film language, aesthetic, and ethical principles in documentary film – film excerpts;
- opportunities for making short documentaries with students – examples from the instructor’s own teaching practice;
- available online sources for documentary filmmaking – music and sound libraries, etc.;
- technical and financial considerations for classroom documentary filmmaking;
- background and analysis of the instructor’s film – Caught in the Net;
- discussion.
Discussion 2: Online Video Content and Media Manipulation (4 hrs)
The lecturer: a YouTuber, documentary filmmaker, director, journalist
- perspectives on being a professional YouTuber and audiovisual content creator;
- the audiovisual video genre, education and reportage;
- general vs. educational YouTube videos and reports;
- recognise audiovisual and media manipulation in practical examples and video excerpts;
- established educational content creators and their potential in teaching practice;
- background and analysis of the lecturer’s work;
- discussion.
Discussion 3: Feature Film (4 hrs)
The lecturer: director, screenwriter, script editor
- perspectives on being a feature filmmaker and screenwriter;
- feature film genre, focus on historical topics and their classroom potential;
- film language, aesthetic and ethical principles – film excerpts;
- examples of manipulative treatment of history and historical figures in feature films;
- discussion of ethical principles and filmmaker responsibilities in different film genres, with an emphasis on historical feature films;
- basics of critical film discussion;
- brief background and analysis of the instructor’s feature film – Lost in Munich;
- discussion.
Practice (18 hrs)
Workshop Structure
- Introduction (host + lecturer)
- Workshop (lecturer)
- Conclusion (host + lecturer)
- Screening of completed works by participants & discussion (host + lecturer)
Workshop 1: Filmmaking – Documentary Film Genres (6 hrs)
The lecturer: A documentary filmmaker – can be the same as the Discussion 1 lecturer
Requirement: prior introduction to CupCut mobile editing app
Contents:
- Theoretical introduction to documentary film genres.
- Making a short documentary film using a smartphone.
- Support students in audiovisual projects.
Schedule:
- Introduction to documentary genres – portrait, report, experimental forms, etc.
- Documentary scriptwriting
- Divide participants into groups and assign random documentary genres
- Lunch break
- Create short documentary films using smartphones
- Coffee break
- Edit videos using CupCut mobile app, and create film titles, film posters, film scores.
- Coffee break; export edited films
- Screening of completed films, lecturer feedback and discussion.
Workshop 2: Editing as a Storytelling Tool
The lecturer: a film editor
- basic editing techniques in DaVinci Resolve software;
- make music videos using film materials provided by lecturer (group work);
- effective work with film materials, rhythm, and pace editing to create fluid and impactful storytelling;
- impact of minor editing changes on the video’s visual and emotional effect and overall message;
- screening of completed music videos, lecturer feedback, and discussion.
Workshop 3: Film Analysis and Film Language: How to Work with Film in the Classroom
The lecturer: a filmmaker, film theorist/critic, audiovisual teacher
- key aspects of film analysis, including technical terms, film language, film aesthetics and connections to other art forms;
- specific methods for creative and interactive classroom film work that encourage discussion, critical analysis and basic film interpretation;
- practical analysis of a short audiovisual work that is transferable to teaching practice. The analysis will improve understanding of audiovisual language and reflection on content along with cultural and social aspects of a given film (group work).
Workshop 4: Motion on the Screen: An Introduction to Animation
The lecturer: animation/video filmmaker, audiovisual education teacher specialized in animation
• different types of animation and basic principles of stop-motion animation;
• using simple tools and animation techniques that can be easily incorporated into various subjects;
• animation software;
• preparing animation workspace and materials;
• making a short animated video (group work);
• screening of completed videos, instructor feedback and discussion.
Workshop 5: Film in the Classroom: International Inspiration for Teaching Practice
The lecturer: An experienced international audiovisual teacher
- exchange of ideas with an experienced international audiovisual educator;
- examples of good international practice;
- methods for using film in the classroom and hands-on practice with teaching techniques (group work).
Inspiration:
- There are inspiring stories of teachers from Germany and the Netherlands who have become professionals in audiovisual education. See Toolbox.
- If you do not know how to find an experienced foreign film education lecturer, contact the authors of the activity. We can help you.
Evaluation
(optional) – 1 hr
(optional) – 1 hr
- Oral feedback: discussions with participants after the theoretical and practical part of the Film Academy (2 × 30 mins)
- Written feedback: send out online questionnaires, evaluate them (2 hrs)
Make it accessible for all
Create equal conditions for all Film Academy participants, ensuring no one is disadvantaged.
- Respect the identity and diversity of each participant.
- Focus on participants’ abilities and potential rather than their limitations.
- Use positive and encouraging language to foster self-confidence and engagement.
- For participants with hearing impairments: prepare films with special subtitles and clearly labeled spaces, translate discussions into sign language, and equip the space with an induction loop system.
- For participants with visual impairments: provide audio descriptions of films, at the start of the day, describe your appearance and what you’re wearing, offer verbal explanations for visual elements throughout the day, and use tactile aids to effectively convey different concepts.
- Ensure barrier-free access to the venue and adapt all activities to be as inclusive as possible. If the space is not wheelchair accessible, consider renting a portable ramp and installing it over stairs.
Thoughts & Experience
FOR ORGANIZATIONS
What organisations gain
- introduce and/or expand audiovisual teaching programmes;
- collaborations with grammar school and high school teachers;
- new contacts among film industry professionals;
- audiovisual literacy among teachers and students.
Team requirements
- coordinator
- production manager
- audiovisual education consultant
- instructors
Funding tips
- internal resources
- grants and subsidies, e.g., Czech Ministry of Culture, local municipalities, EU programs, foundations and non-profit organizations
- sponsors and corporate partnerships
- crowdfunding campaigns
Promotion tips
- Direct outreach: email, newsletter
• When reaching out to teachers and school principals, emphasise the programme’s value for school education – direct contact with teachers and principals is crucial. Share information about the programme and application details. - Social Media: Facebook, Instagram, TikTok
• Promote the Film Academy as a whole, as well as individual discussions and workshops.
• In online PR, make use of eye-catching visuals, short videos on Instagram and TikTok that focus on the project’s creative activities.
• Use Facebook to promote programme details and share the application form - Promotion materials: information on how audiovisual education enhances teaching
- Collaborations: schools, civic centres, film festivals, and interest groups (e.g., teacher associations, etc.).
Find your audience
- Reach out to teachers and principals of grammar schools and high schools.
- Focus on teachers specialised in arts and humanities but share the information with other teachers as well.
- To effectively map out local teachers, proceed by school districts or city neighbourhoods.
- To ensure diversity and rich exchange of ideas, reach out to participants from different regions.
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