This thesis reveals and explores contemporary relationships between film education, film industry and film culture within a UK context through a series of interviews, data analysis, historical research and international case studies. It highlights what appear to be binary oppositions within film such as divisions between theory and practice, industry and academia or art and entertainment and interrogates how they have permeated film education to the point where the relationship between film studies and film practice is polemical. Also, the thesis investigates how a relationship between two binary areas might be re-­engaged and it is within this context that this thesis addresses contemporary issues within UK higher education and national provision of film education. There is detailed analysis of UK film policy alongside the philosophies and practicalities of filmmaking to establish how connected the practice of filmmaking is to the film industry and national strategy. An international perspective is provided through the analysis of the film school systems in Denmark and the U.S. and this postulates potential future directions for UK film education, particularly within the university sector. A main focus of the thesis is to question film education by engaging with the voices of actual filmmakers and also via data analysis of the educational background of filmmakers as a way of developing film education. The thesis is undertaken at a time of major changes across film and higher education. Film production, distribution and consumption have undergone major technological evolution and the structures that were once in place to facilitate graduate movement into the workplace are changing and shifting. Simultaneously the identity of the university as a place of skills training or critical development is under consistent scrutiny. With this in mind this thesis seeks to engage with the potential future for film education.

Gängige Konzepte der Filmbildung werden vorgestellt und in ihren pädagogischen Implikationen diskutiert. Dabei wird kritisch auf das Kanon-Konzept eingegangen sowie auf den vom Autor favorisierten Ansatz, Spielfilme auch als Gegenstand einer narrativen Pädagogik zu verstehen. / Common concepts of film education are presented and discussed in their pedagogical implications. In particular, the canon concept is presented as well as the approach favored by the author to understand films as a subject of a narrative educational theory.

Gängige Konzepte der Filmbildung werden vorgestellt und in ihren pädagogischen Implikationen diskutiert. Dabei wird kritisch auf das Kanon-Konzept eingegangen sowie auf den vom Autor favorisierten Ansatz, Spielfilme auch als Gegenstand einer narrativen Pädagogik zu verstehen. / Common concepts of film education are presented and discussed in their pedagogical implications. In particular, the canon concept is presented as well as the approach favored by the author to understand films as a subject of a narrative educational theory.

TITLE: THE CONNECTION OF GALLERY EDUCATION AND FILM EDUCATION IN PRACTICE AUTHOR: AMÁLIE HORVÁTHOVÁ SUPERVISOR: MGR. LINDA ARBANOVÁ, PHD. /ABSTRACT THE DIPLOMA THESIS DEALS WITH PHENOMENONS OF MOVING IMAGES, FILM, VIDEO, ANIMATION AND FILM EDUCATION, SHOWS VARIOUS APPROACHES OF HOW MOVING IMAGE COMES INTO OUR LIVES OR POSSIBILITIES AND EXAMPLES OF HOW CERTAIN ARTISTS AND ART PROJECTS INTEGRATE MOVING IMAGES INTO THEIR WORK. FURTHERMORE, THE THESIS EXAMINES THE CONNECTION OF GALLERY EDUCATION WITH ELEMENTS OF FILM EDUCATION IN PRACTICE THROUGH THE INTRODUCTION OF CZECH AND FOREIGN INITIATIVES, PROJECTS, EXAMPLES OF FILM MUSEUMS AND FESTIVALS OF ANIMATION AND MOVING IMAGES. SUBSEQUENTLY, THE THESIS USES THEM AS AN INSPIRATION FOR THE EDUCATIONAL PROJECT THAT ABSORBES BOTH ART AND FILM EDUCATION WITH ITS RELATIONSHIP TO GALLERY PRACTICE IN DIFFERENT INSTITUTIONS AND SELECTED EXHIBITIONS. THE EDUCATIONAL PROJECT SERVES AS AN OPPORTUNITY FOR CHILDREN TO LEARN THE BASICS OF ANIMATED AND FILM CREATION, TO UNDERSTAND FUNDAMENTAL PRINCIPLES OF THE PRODUCTION OF MOVING IMAGES AND TO COMPREHEND HOW TO USE MODERN TECHNOLOGY FOR SELF EXPRESSION . THE DIPLOMA THESIS OBSERVES SPECIFIC PROJECTS AND SHOWS A VARIETY OF POSSIBILITIES OF THE CONNECTION OF FILM AND ART EDUCATION. A SHORT ANIMATION, RELATED EXERCISE BOOKS AND...

隨著社會與科技發展，電影教育之規劃也持續改變，特別是數位科技的浪潮衝擊下，電影教育的變化也隨之加劇。本研究之目的即在探討美國電影教育如何受到電影產業對、社會及科技的影響。本文以University of Southern California, New York University, University of California-Los Angeles, and Syracuse University 這四個學校為主要研究對象，針對其自1960年代迄今的電影教育規劃、學位授與設計、和課程結構進行整理分析，以試圖理解電影教育與產業、社會與科技變化之關係，並透過文獻研究與專家深訪，加以驗證。此研究發現電影教育機構透過新課程的開設、學程提供及學位授與規定的調整等等方式，反應產業、社會、科技的變化。雖然電影創造的本質並未改變，但其本質及概念仍持續影響學校電影課程的外貌。 / American film education system is changing, particularly in light of the digital technology boom. Just how American film education has evolved with regards to the market, social, and technical influences is the objective of this research. Four schools--University of Southern California, New York University, University of California-Los Angeles, Syracuse University--and their undergraduate and graduate curricula from 1960s to present are examined. Qualitative explanations are supported by interviews with administrators and instructors. The study finds that technological developments play an important role in the evolution of American film education by engendering the creation of new courses, programs, departments, and degrees. Yet, the fundamentals of filmmaking have not changed, and schools’ origin and philosophy remain influential factors in shaping the film curriculum.

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Cette recherche propose de se questionner sur la présence — ou l'absence — du cinéma dans les écoles secondaires québécoises en 2011. Ce mémoire s'amorce par un bref historique de l'éducation cinématographique au Québec, qui permet de démontrer la récurrence des recommandations émises en faveur de l'éducation cinématographique depuis les années 60 au Québec, et qui met en contexte la situation actuelle de l'éducation cinématographique. Il s'attarde ensuite à la notion de culture, telle qu'entendue dans la réforme du programme de formation de l'école québécoise, survenue au début des années 2000 au Québec, et ce afin de souligner l'incongruité de l'absence du cinéma dans le parcours scolaire des étudiants. Il tente également de démontrer l'urgence d'inclure le cinéma au corpus étudiant afin de former les élèves à l’analyse critique et informée des images, urgence qui découle en partie de l'omniprésence des images en société. Ce mémoire analyse également les différents outils pédagogiques liés au cinéma qui sont offerts aux enseignants des écoles secondaires québécoises par l'Office national du film du Canada et par l'Association des cinémas parallèles du Québec, pour ensuite les mettre en parallèle avec le projet cinématographique développé par Alain Bergala en France. / This thesis proposes to question the presence — or absence — of cinema in secondary schools of the province of Quebec in 2011. It begins with a brief history of film education in Quebec, which demonstrates the recurrence of recommendations for film education since the 60s in the province, and puts into context the current situation of education film. It then focuses on the concept of culture, as described in the recent reform of the Quebec's educational program, which occurred in the early 2000s, in order to emphasize the incongruity of the absence of cinema in the program. It also demonstrates the urgency of including the cinema to the educational program to train students in critical analysis of images, urgency stems in part from the pervasiveness of images in society. This thesis then analyzes the various educational tools related to cinema that are available to high school teachers in Quebec, mostly offered by the National Film Board of Canada and the Association des cinémas parallèles du Québec, and compares them with the educational project linked to cinema developed by Alain Bergala in France.

Cette recherche propose de se questionner sur la présence — ou l'absence — du cinéma dans les écoles secondaires québécoises en 2011. Ce mémoire s'amorce par un bref historique de l'éducation cinématographique au Québec, qui permet de démontrer la récurrence des recommandations émises en faveur de l'éducation cinématographique depuis les années 60 au Québec, et qui met en contexte la situation actuelle de l'éducation cinématographique. Il s'attarde ensuite à la notion de culture, telle qu'entendue dans la réforme du programme de formation de l'école québécoise, survenue au début des années 2000 au Québec, et ce afin de souligner l'incongruité de l'absence du cinéma dans le parcours scolaire des étudiants. Il tente également de démontrer l'urgence d'inclure le cinéma au corpus étudiant afin de former les élèves à l’analyse critique et informée des images, urgence qui découle en partie de l'omniprésence des images en société. Ce mémoire analyse également les différents outils pédagogiques liés au cinéma qui sont offerts aux enseignants des écoles secondaires québécoises par l'Office national du film du Canada et par l'Association des cinémas parallèles du Québec, pour ensuite les mettre en parallèle avec le projet cinématographique développé par Alain Bergala en France. / This thesis proposes to question the presence — or absence — of cinema in secondary schools of the province of Quebec in 2011. It begins with a brief history of film education in Quebec, which demonstrates the recurrence of recommendations for film education since the 60s in the province, and puts into context the current situation of education film. It then focuses on the concept of culture, as described in the recent reform of the Quebec's educational program, which occurred in the early 2000s, in order to emphasize the incongruity of the absence of cinema in the program. It also demonstrates the urgency of including the cinema to the educational program to train students in critical analysis of images, urgency stems in part from the pervasiveness of images in society. This thesis then analyzes the various educational tools related to cinema that are available to high school teachers in Quebec, mostly offered by the National Film Board of Canada and the Association des cinémas parallèles du Québec, and compares them with the educational project linked to cinema developed by Alain Bergala in France. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This diploma thesis deals with animated clip and its application in teaching process, in particular in arts and music classes at secondary basic school, by means of project methodology. The theoretical part, besides project method, which is the center point of this work, also focuses on history of animated film, together with animated clip and its asset. Subsequently, the final section of the practical part applies the findings of the theoretical part. The final section of this diploma thesis is a model animated clip Adebars Reise "The Flight of a Stork" and a draft for the project education in arts and music education at secondary basic school, on the topic of animated clip.