This thesis examines the industry of non-profit educational filmmaking in Sub-Saharan Africa, from the 1930's to the present, with particular attention on the contemporary period of video production from the late 1980's to approximately 2010. This thesis, first, identifies that there is a consistent industrial infrastructure around non-profit educational filmmaking in Sub-Saharan Africa, which has not previously been articulated. Second, it describes the industry's historical origins and contemporary manifestation, delineating the pathways for funding, systems for production, and avenues of distribution and exhibition, as well as the ideological underpinnings of each. Finally, this thesis proscribes alternative industrial practices for the imagination and execution of non-profit educational videos that alleviate some of the otherwise deeply engrained hierarchical features of the industry by drawing on several examples of recent innovations in the industry. This thesis claims that the standard procedures by which non-profit educational films and videos in Sub-Saharan Africa come to be are problematic in the way that they maintain colonial hierarchies between Western philanthropic funders, cosmopolitan humanitarian professionals acting as producers, African casts and crews, and audiences that are necessarily objectified in order to be studied quantitatively. This structure has profound effects on content, most recently evident in neoliberal ideas that valorize the privatization of solutions to public health problems and quaint stories designed to encourage audiences to emulate ideal behavior based on Western gender norms as a primary solution to complex social problems, such as HIV/AIDS. Drawing on examples from recent innovations in the industry, this thesis finally proposes that changes in the balance of decision-making power in the African educational film and video industry - changes such as sourcing audiences for stories addressing HIV/AIDS, integrating with existing media markets, or more loosely providing international support to existing local initiatives that pinpoint local concerns - are necessary in order to better realize the potential of cinema to effectively address the myriad of social, environmental, political, economic, and medical challenges faced by real and distinct Sub-Saharan audiences.

Studijų metu gerai susipažinęs su dizaino sąvoka pastebėjau, kad ji apima įvairią kūrybą, gerokai daugiau nei iki tol įsivaizdavau. Anglakalbių šalių žodžio design supratimas dar gerokai platesnis. Ten grafikos dizaineris užsiima platesniu darbų spektru, kurį taip pat įvardija kaip design ar tai būtų logotipo kūrimas, ar interaktyvus skaitmeninis objektas. Bebaigdamas savo studijas pastebiu, kad didžioji dalis darbų buvo susietų su pramoniniu, interjero dizainu ir vienokia ar kitokia spauda. Dėl šios priežasties nusprendžiau savarankiškai gilinti dizaino įgūdžius, techninius gebėjimus platesniame kompiuterinių programų rate. Todėl bakalauro darbe, kurį įvardinau judančia grafika (angl. Motion graphics), pasitelkiau šiandien plačiai skaitmenine kūryba užsiimančių menininkų naudojamas programas. Motion graphics (judanti grafika) - tai grafika, kuriai pritaikoma video arba/ir animavimo technologija, sukurianti judesio iliuziją ar besikeičiančią objekto išvaizdą. Judanti grafika dažniausiai derinama su garsu naudojant įvairiuose multimedijos projektuose. Judanti grafika dažniausiai rodoma pasinaudojant elektroninės medijos technologijomis. Terminas naudojamas atskiriant nejudančią grafiką nuo grafikos keičiančios išvaizdą laike. Žinoma, mano dailės ir dizaino specialybė orientuota į mokytojo darbą, todėl filmuko kūrimas naudojant flash technologiją, video ir audio montavimo programas buvo puikus pasirinkimas tobulinant savo kaip dizaino specialisto gebėjimus. Taip pat plečiant... [toliau žr. visą tekstą] / For my bachelor degree work I created motion graphics short films which are suited to be shown at schools for children, as well the creation of them are written down in this work and can be used for school as a methodical instructions how these kind of films can be made. My work inspired by Ivan Krylov - a classic well known in the world Russian fables writer. This way my motion graphics films have a deep educational value. To create them I mainly used Adobe Photoshop, Adobe Flash, Sony Vegas and Audacity computer software. My work is great methodical instructions for young art and design teachers who want to teach their students how to use computer software basics for creative tasks. To create my motion graphics films I used computer software which is highly used by today's professional digital artists.

<p>Syftet med arbetet är att identifiera och lyfta fram ett antal riktlinjer för den visuella designen av animerad bild som används i utbildningssammanhang. Vi ämnar också att identifiera vilka stilelement inom animerad undervisningsfilm som står sig över tid och olika medium. Att belysa de nya kvaliteter och möjligheter som framkommer i och med det digitala mediet. Vi kommer också att titta på hur målgrupp och mottagarkontext påverkar formens uttryck och innehåll.</p><p>Vi har med en gemensam analysmodell gjort en kvalitativ analys av tre tidstypiska animerade undervisningsfilmer, <em>Camouflage</em> (1943),<em> Den Vidunderliga Världshistorien</em> (1993) och <em>Gutten og Torsken</em> (2007) som alla använder sig av humor som en förstärkning av lärandet.</p><p>Genom analysen har vi kunnat identifiera stilelement så som användandet av stereotyper och metaforer, konstaterat hur innehåll och uttryck till stor del påverkats av målgrupp och mottagarkontext men även av gällande distribution och tekniska möjligheter.</p> / <p>The purpose of this work is to identify and highlight a couple of guidelines for the visual design of an animated film to be used in an educational context. We also seek to identify style elements in animated educational film that persist through time and different medium. Also to highlight new qualities and opportunities that come with the digital medium. Finally we will also look at how the audience and reception context effects and shape the expression and content of an educational movie.</p><p>With a fixed analytical model we have made a comparative qualitative analysis of three period-characteristic animated educational films, <em>Camouflage</em> (1943), <em>Den Vidunderliga Världshistorien</em> (1993) and <em>Gutten og Torsken</em> (2007) which all use humor to enhance the learning.</p><p>Through this analysis we have been able to identify style elements such as the use of stereotypes and metaphors, noted how the content and expression is largely influenced by the audience and receiver context but also of the distribution and technical capabilities.</p>

Syftet med arbetet är att identifiera och lyfta fram ett antal riktlinjer för den visuella designen av animerad bild som används i utbildningssammanhang. Vi ämnar också att identifiera vilka stilelement inom animerad undervisningsfilm som står sig över tid och olika medium. Att belysa de nya kvaliteter och möjligheter som framkommer i och med det digitala mediet. Vi kommer också att titta på hur målgrupp och mottagarkontext påverkar formens uttryck och innehåll. Vi har med en gemensam analysmodell gjort en kvalitativ analys av tre tidstypiska animerade undervisningsfilmer, Camouflage (1943), Den Vidunderliga Världshistorien (1993) och Gutten og Torsken (2007) som alla använder sig av humor som en förstärkning av lärandet. Genom analysen har vi kunnat identifiera stilelement så som användandet av stereotyper och metaforer, konstaterat hur innehåll och uttryck till stor del påverkats av målgrupp och mottagarkontext men även av gällande distribution och tekniska möjligheter. / The purpose of this work is to identify and highlight a couple of guidelines for the visual design of an animated film to be used in an educational context. We also seek to identify style elements in animated educational film that persist through time and different medium. Also to highlight new qualities and opportunities that come with the digital medium. Finally we will also look at how the audience and reception context effects and shape the expression and content of an educational movie. With a fixed analytical model we have made a comparative qualitative analysis of three period-characteristic animated educational films, Camouflage (1943), Den Vidunderliga Världshistorien (1993) and Gutten og Torsken (2007) which all use humor to enhance the learning. Through this analysis we have been able to identify style elements such as the use of stereotypes and metaphors, noted how the content and expression is largely influenced by the audience and receiver context but also of the distribution and technical capabilities.

Dieser Artikel stellt einerseits eine Seminarmethodik zum Einsatz des Analytical Short Films (ASF) in der Lehrerbildung und andererseits Ergebnisse einer wissenschaftlichen Begleitforschung zu zwei an der Hochschule für Musik und Theater Leipzig (HMT) durchgeführten Seminaren vor. Dabei wurde die wissenschaftliche Begleitforschung im Rahmen des Verbundprojektes zum Videocampus Sachsen (VCS) gefördert. Unter einem Analytical Short Film wird hierbei ein Kurzfilm von drei bis vier Minuten Dauer verstanden, welcher, ergänzt um eine tabellarische Erläuterung, der sogenannten Complementary Information (CI), eine spezifische Perspektive auf eine gefilmt vorliegende Unterrichtsstunde darstellt. In den Seminaren hatten die Studierenden die Aufgabe, ASFs sowohl aus einer subjektiven Perspektive zur Thematik guter Musikunterricht als auch aus einer theoriegeleiteten Sichtweise zu erstellen und zu diskutieren. Zentrale Ergebnisse der wissenschaftlichen Begleitforschung deuten an, dass die Studierenden durch den Einsatz der Methode vermehrt auf wissenschaftlicher Ebene argumentieren und dass deren Reflexionsstil in Orientierung an verbessert wird. Weitere Informationen finden Sie unter: https://video.tu-freiberg.de/media/embed?key=c51680312a24041f03bdcacf885df273 und https://video.tu-freiberg.de/media/embed?key=293a145408f2e09870d8298cba87486c

This study combines analytical and narrative modes of historical enquiry with educational policy sociology to construct a history of media in education in Scotland. It uses the development trajectory of a single case, media education in Scotland's statutory education sector, to deconstruct and reconstruct a history of the institutional relationship between the Scottish Film Council (SFC) and the Scottish Education Department (SED) that stretches back to the 1930s. Existing literature describes media education in Scotland as a phenomenon located in the 1970s and 1980s. This study disaggregates media education discourse and dissolves chronological boundaries to make connections with earlier attempts to introduce media into Scottish education in the context of Scotland's constitutional relations within the UK. It employs historical and socio-cultural methods to analyse the intersections between actors and events taking place over six decades. The analysis and interpretation of the data is located in three time periods. Chapter 3 covers the period from 1929 until 1974 when, on the cusp of the emergence of the new texts and technologies of film, the SFC was established to promote and protect Scottish film culture and audio-visual technologies. During this time, the interdependence of teachers, the film trade and the educational policy-making community led to the production, distribution and exhibition of new and popular forms of text to national and international acclaim. By juxtaposing public and private documents circulating on the margins of statutory education, this chapter generates a new understanding of the importance of film and its technologies in Scotland in the pursuit of a more culturally relevant and contemporary model of education. It also describes how constraints upon Scotland’s cultural production infrastructure limited its capacity to effect significant educational change. In the 1970s, cultural, political and educational ferment in pre-devolution Scotland, created a discursive shift that gave rise first to media education and then to Media Studies. Articulating documents with wider discourses of educational and cultural change and interviews with key players, Chapter 4 describes a counter-narrative gaining momentum. The constraints of the practices of traditional subjects and pedagogies combined with the constraints on Scottish cultural production gave shape and form to the media education movement. Significantly for this study, the movement included influential members of Scottish education’s leadership class. Between 1983 to 1986, the innovative Media Education Development Project (MEDP) aimed to place media education at the centre of teaching and learning in Scottish education. This was fully funded by the SED, managed by the Scottish Council for Educational Technology (SCET) and the SFC and implemented by the Association for Media Education in Scotland (AMES). The MEDP overlapped briefly with another initiative in SCET, the Scottish Microelectronics Development Project (SMDP). During this period, Media Studies enjoyed rapid success as a popular non-advanced qualification in the upper secondary and further education sectors. Media education, however, did not. Chapter 5 explores the links between the MEDP and the SMDP through the agency of three central actors: SCET, the SFC and AMES in the context of a second term of Margaret Thatcher’s Conservative government. This study concludes that between 1934 and 1964, the SFC was a key educational bureaucracy in Scottish education. The SFC’s role as an agent of change represented the recognition of a link between relevant and contemporary Scottish cultural production and the transformation of statutory education. Between 1929 and 1982 three iterations for media and education in Scotland can be discerned. In 1983, the MEDP began a fourth but its progress faltered. The study suggests that if a new iteration for media and education in Scotland in the twenty-first century is to emerge, an institutional link between media culture, technology and educational transformation requires to be restored.