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CONTENT FOURTH FILM WORKSHOP “SHORT FORM” TOWARDS THE ORGANIC DOCUMENTARY - a chronicle of a film workshops

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MATURE AND CLEVER

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SELECTING A TOPIC FOR FILM

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BEYOND THE SOUND AND PICTURE A short manifesto of recording sound for film

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FILMKULTURA Association for educaion in audiovisual culture, Belgrade, Serbia

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GRAMMAR SCHOOL “TAKOVSKI USTANAK”, Gornji Milanovac, Serbia

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YOUTH CINEMA NETWORK

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MEDIA EDUCATION SEMINAR AND WORKSHOP WORKSHOP AND SEMINAR PROGRAM OF MEDIA EDUCATION

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HUNGARY EXAMPLE OF GOOD PRACTICE: KIDS EYE ORGANISATION

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EXAMPLE OF GOOD PRACTICE: BUSHO FILM FESTIVAL

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SLOVENIA FILM EDUCATION IN SLOVENIA

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EXAMPLE OF GOOD PRACTICE: LUKSUZ PRODUCTION

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SERBIA MEDIA EDUCATION IN SERBIA

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EXAMPLE OF GOOD PRACTICE: EDUCATION CONNECTS

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EXAMPLE OF GOOD PRACTICE: THE CULTURAL CENTRE OF GORNJI MILANOVAC

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CROATIA MEDIA CULTURE IN THE PRIMARY SCHOOL CURRICULUM IN CROATIA FROM STANDARDS TO REALIZATION

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MEDIA EDUCATION IN ACCORDANCE WITH CHILDREN’S AGE

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MEDIA EDUCATION IN HIGH SCHOOL

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YOUTH AS MEDIA EDUCATORS

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MEDIA-PEDAGOGICAL APPROACH IN BOARDING HOMES

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PARTNERSHIP FOR A POSSIBLY BETTER FUTURE /I WONDER – CONTEMPLATION FROM THE PROVINCE/ IMPRESSIONS

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FOURTH FILM WORKSHOP “SHORT FORM” 2014.

Gornji Milanovac Serbia

TOWARDS THE ORGANIC DOCUMENTARY - a chronicle of a film workshops

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This spring, at the invitation of film program editor of the Cultural Center Gornji Milanovac I accepted mentoring at the workshop for short documentary film, which was held there for the first time. The workshop was held in ten sessions, from proposal ideas for the film to its realization, as a part of “Short Form” Film Colony. Although we started from two assumptions - that the participants of the workshop were talented students of primary and secondary schools and that they had some knowledge in the field of film and media, we realized that the second assumption was not completely true. Participants, whom at first were fifteen, did not know the grammar of film language. But was this was a handicap, or just the ability to completely organically accept new ideas and their realization? At the preliminary meeting and conversation, I realized that these are students who possess a very broad general education in the field of social sciences and arts and that some of them have the desire to continue their professional commitment on film through further education. Soon we overcame this problem of scholastic nature by reference to relevant literature, with a reasonable time limit for them to master it. We started with the process that should lead to development of a number of documentaries which are thematically and conceptually consistent and in the anthropological sense grounded in the communities in which children live and learn every day. The methodology was known, but every time it could take on a different character - projections of relevant film examples with commentary, analysis, sometimes serious criticism. Each of these films was encouraged identification with the characters and their problems, recognition of universal significance, but it was necessary to replace active watching with active creativity.

Given that Gornji Milanovac is a relatively small community, I tried to define thematic framework for their films through conversation about some general issues concerning organic environment in which almost all the inhabitants directly or indirectly know each other through everyday life: Sustainability - what are the challenges, cultural specificity, joys, problems associated with survival issues in your community? How safe is survival?

Love - what are the relations between people in your community, family relations and interdependence? What are the rules in these relationships, how people behave to someone who is elderly and different?

Culture - who shapes the imagination, creativity, cultural identity of your community?

Faith - what do people in your community believe is true? What is unfair or fair in your community? What are the challenges, which are the well-established rules and norms, which are the contradictions facing them?

Fear - what are the threats present in your community? How frequent are they?

What lessons can we learn from the history of your place and what is worth fighting for? How does your community cope with violence, changes in the natural environment, crime? How to overcome conflicts? Can we overcome prejudice, nationalism and fear of difference?

Hope - what do we hope for our children? Who are the people in the community who are working to improve life? How can the new generation of creators and thinkers help to shape the ideas that will become the pattern for the future? How can documentary filmmakers help?

After considering these topics, we chose a documentary portrait of a person as an appropriate form. The protagonists of the film are supposed to be people who can guide us through the film well and in an articulated way and to identify with the theme and idea. Also, they should be representatives for the community, old or young, who possess charisma as narrators or characters in the movie. I let the students choose the topics, and we talked about style and the view from which we would access the issue on the basis of several documentaries that we presented as relevant examples. Also, there is the question of ideas in a documentary film.

After several meetings, several proposals-synopsises for film crystallized. After discussing the proposals, they had to choose which three will be made into short documentary films.

So, they had to choose three topics which would be the base for scenarios for the documentaries. One of the main questions dealt with finding the angle from which it would be presented by the main character in the film, so the viewer could identify with their problems, life attitudes and personalities. After preliminary discussions, I decided that for the next encounter everyone had to any explore more specifically the proposed theme, through an interview with a potential protagonist, photographing personalities and locations and checking the basic assumptions for the record - whether the proposal is feasible from the production angle and whether the proposed person is charismatic and interesting enough as a character in the documentary, because he/she should be the bearer of ideas.

After detailed discussions about the conducted research in the field, three ideas came up, primarily because of production reasons - real opportunities to achieve everything in a given time frame and the character of the protagonists: Vera, Janitor Živko and Gibo-tinner-inventor.

On this occasion we agreed that those whose ideas would not be implemented participate in film crews as organizers, cameramen and editors and the authors of scenarios are would be directors, bearing in mind that the work on film, in addition to the presence of authorship, is also collective work. In documentary film, the author of the script is also the director, one that explores and promotes its baseline scenario during filming. In particular, we emphasized the importance of editing.

In many documentaries that occurred spontaneously in the field, the scenario has emerged as a consequence of working in editing, and therefore it had the character of a posteriori scenario generated on the basis of subsequently found solutions within the recorded material. After two weeks, during which shooting should be done, teams were faced with what their work in the field. During several hours of viewing the recorded material, we tried to find the best narrative line in the films, so that the basic idea remains unimpaired. Participants started editing it.

Documentary films produced in this workshop are, in my opinion, the best proof that nowadays it is possible to indicate and poetize local issues and promote them to the universal level, with the help of talent, knowledge of the environment in which you live, choosing the right approach to the subject, ideas, persons who may be carriers of your ideas and basic visual culture, which is now an integral part of the everyday environment and education of young people.

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Igor M. Toholj, Belgrade, Serbia

MATURE AND CLEVER

When the participants, after the second lecture at the interactive workshop of short documentary film, were saying what they expect from it, they were hardly able to imagine that their ideas could get a form, let alone that completed films will be shown in front of a large audience at the Cultural Centre in Gornji Milanovac as well as at youth film festivals in Serbia and the region.

Fifteen participants, mostly high school students (although there was one girl from elementary school), in four months (classes were held on weekends) got familiar with the basics and principles of creating a short documentary film. They also watched documentaries and discussed about them, and got the opportunity to take a camera in their hands and film their stories. They were full of enthusiasm and knowledge while attending these workshops, and it is particularly important to stress they realized that making a film is a collective action, which was emphasized from the very beginning.

Aware that, as we usually say, the themes for documentaries are all around us, the participants of the workshop focused their attention on things they are intrigued and interested in as young members of society. Films that have been made at the interactive workshops are clever, mature and interesting. A more experienced professional would be proud. Three films different in form and approach, while similar in work energy, tell us something about young people: no matter how it seems to us, they perceive the world around them and think about it in an interesting way. People and their lives are the center of their stories. Whether they speak metaphorically of irreparable times we live in, or of the unlikely force that pushes us to go on despite the tragedies or they speak of skills and ideas that are at the limits of the possible, their works alert us of the fact that children who live with us and beside us are small people that perhaps experience the world around them in a more sensitive way than we as adults do.

It should be pointed out that these children have many talents, that they have successfully overcome all the obstacles they encountered, and there were, of course, many obstacles as it is the case when some serious work is done. They encountered all the situations which professionals find themselves in, from “losing” the materials on the hard disk, unusable shots to over-edited shots. And yet they completed three films, which will not be the best films ever made at this workshop, but they will be the first and that is also important.

At the 43rd Festival of Filmmaking for Children and Youth in Serbia (Belgrade,

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2014) where these workshop documentaries were shown, Cultural Center of Gornji Milanovac was awarded with a prize for the most successful production in the category of youth films (15-19).

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Nevena Matović, journalist of Radio Beograd 2, Belgrade, Serbia

SELECTING A TOPIC FOR FILM

Journalistic and cinematographic approach (similarities and differences)

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Topics are not difficult to find as they are everywhere. One just needs to look around. Tomislav Gotovac, a world famous conceptual artist, performer and film maker who lived and worked in Zagreb and made some of his most important works in Belgrade, used to say: Anything can be turned into a film!

To start with you need a story which can be turned into a piece of news, reportage, comment in the newspapers, on the radio or TV... or into a feature film, documentary and cartoon among others.

Journalism has always been focused on a story, on reporting about the events that can be interesting and influence their target audience. The goal of journalista is to discover the news, what is important for the life of the community or individuals on the local as well as global level and by doing so they regularly come across the fear of certain social circles who are willing to prevent them from doing it. We have been witnessing different forms of censorship, which prevent the revealing of the facts that are supposed to have negative influence on state, national, traditional and other values of the society. Those fears arise within the groups whose political and financial motives are to keep the things as they are, not to lose their power and to keep the rest of the society out of the reach of the information, thus making them unable to influence the course of events, politics, economics, life.

Journalists have always been struggling for two basic values. One of them is the right to present information, the ruler of the world, for those who possess it or possess the right to hide it or change it, indeed have all the power in the world. The other is the right not to reveal the source of information, for the only way to gain it, is when there are no sanctions for those who submit and process it.

Technology has developed and the journalistic approach has developed accordingly. It started by written words that grew into sentences and newspaper articles and those grew into newspapers. Only later did daily papers emerge along with weeklies, magazines, specialized editions on different topics such as medicine, sport, culture or business. Along with the printed texts appeared news photos, illustrations, sketches... It is interesting to mention that some papers, such as The Times, which was first published in 1785 ( it’s had its current name since 1788) which has set high standards in the world of journalism, have been against introducing the photographs holding the view that the written word itself is sufficient to support the views of a journalist. As a result to this it has had its fourcolumn graphic design, which may appear dull to a contemporary reader used to glossy cover pages, throughout almost its entire history.

However, illustrations, drawing, photos and sketches appeared in the printed editions in order to illustrate the text or simply as a replacement or additional comment on the events that were written about. It is said that a picture is worth thousand words, which means that modern consumers of information are more inclined to watching than reading. Numerous large photos that illustrate a short

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text prevail in publications nowadays and these are being more popular than the regular newspapers.

Disseminating information developed on with introducing radio and film. The radio news is much faster than the newspaper news as there is no need to go through the process of making the papers, writing texts, shooting photos or drawing illustrations as well as their graphic shaping, making a visually acceptable layout, then printing, binding and finally distributing it to the readers. Radio has outperformed it all by introducing live reports. However, the essence of reporting was kept and that is an interesting story, facts that rely on 5 key qestions in journalism who, where, when how and why, and analytical approach which had to compensate for any inaccuracy caused by the speed of reporting.

When film was invented, reporting got a new dimension. If a newpaper photo is worth a thousand words, a film is worth a million. The first films, such as The workers leaving the factory or The train entering the station were a mixture of a documentary and a reportage but they were also the beginning of the film journals, which are the form of reporting on current affairs shown at the evening screenings before feature films. That is how the story, after being retold in a written or a spoken form became visible to the eye and seen in a completely different way.

Only later will it show that a certain manipulation is possible here, as well, but that is a whole new subject.

Finally, film reporting was after a while replaced by TV reporting that combined sound, picture and speed and imposed itself as the most common form, of course, before the more and more popular social networks.

Films claimed their original purpose which is to entertain, withdraving from the domain of information and leaving its place to television. It is still in every way related to a story and as such close to journalism.

However, there are some important differences. For a story to be published in the newspapers there should be a journalist or more of them who know how to turn it into a newspaper article. It is irrelevant whether the journalist uses technology or writes a story on a piece of paper, which is rare nowadays. To make a radio or TV reportage as well as a film, one needs to use technology. The base is still a story but one needs to be careful of what and how it can be filmed. Despite the advanced digital technology, there are some things that just cannot be recorded, at least there cannot be made a good quality record. That is why the initial preparations are important to avoid facing the insurmountable obstacles.

In the past, the technology was poor and imperfect so the preparations were complex and long. The films were recorded on a film tape, which was expensive, had to be developed and additionally processed so the preparations were more important than the recording itself. Nowadays, we usually rely on modern technology which seems to be powerful, it is easily accessibile, and affordable.

It results into the effort to turn the quantity into quality, which means a lot is recorded in the hope at least a part of it will be of a good quality.

However advanced this technology may be, film making remains story telling. It is the skills and talents of the author (and his use of technology) that affect the way the story will be told, but if the story is not good, well selected and has no moral message, the final results will be poor. A film may be considered good if it brings about changes in the views and behaviour of its audience, if it affects not just what we see but how we think, if it makes us better people.

And what about good stories? They are all around. They just need to be recognized and retold.

Anything can be turned into a film!

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Duško Popović, Zagreb, Croatia

BEYOND THE SOUND AND PICTURE A short manifesto of recording sound for film

Most modern viewers are well aware of the fact that shooting a film does not follow the sequence of the scenes, and that the shooting schedule depends on the location specificity, the order of appearance of actors, technical requirements and the overall efficiency of the crew. Film is a foothold for many lost souls passionately and obsessively devoted to a career and job which is, essentially, an evolved example of children’s play. Situations that can take a turn for the worse during a shooting are immeasurable. Therefore, a precise allocation of minutely defined assignments is essential if the “Oh, no, we forgot...” flashback moment is to be avoided in the post-production stage. Very often too, one is faced with the question whom to address for an instruction, indication, or help and it’s not all the same who will it be, with so many people involved.

Amidst all that crowd, there’s usually a small group of people lurking in one of the corners, with their ears pricked up and their eyes wide open. They are the sound recording crew, who commonly receive a welcome worthy of one’s aunt’s best friend’s nephew whom she dared to bring to the party (Denise the menace). What are the reasons for this phenomenon? Does it have something to do with that unwritten ‘first come – first served’ rule? Like: somebody else was there first and had the things their way, right away. Or is it just that they lack knowledge about the intricate nature of sound?

The truth is that, in their mutual communication, the representatives of the sound department sometimes truly sound like aliens to the rest of the world. And yet, sound design is essentially a craft, which, similarly to nuclear physics, can be mastered, then perfected through hard work and practice, in order to finally open the door of art.

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The main task of the sound design crew on a set is to record the dialogue as precisely and with most quality possible. Most elements of the sound image can be created subsequently, but modern feature film relies on the spoken word as a means of communication between drama characters and the audience. That is why the dialogue must be recorded in the best possible way, on the spot. The dialogue can be dubbed in the studio as well, but this imposes additional tasks and production costs. The sound sector includes the sound recordist and a boom operator. The sound recordist listens to what is being recorded while also being cautious about the noise of the environment. The boom operator holds the boom pole with a microphone at its end, making sure that the microphone is as close to the sound source as it gets.

Microphone is a device that transforms sound pressure into electricity. It’s a stupid device because it focuses on only one spot in the whole picture. That’s why the boom operator has to be well trained and precise. You miss the sound source, and the microphone will pick that up. There are three things you have to know about a microphone: its sensitivity, its directivity and its placement.

Sensitivity tells you how sensitive a microphone is to sound waves coming in its direction. You will use more sensitive microphones in quiet environments where it’s necessary to pick up all the details of a sound, and less sensitive microphones for louder environments where you only need to pick up the information. For example, condenser mics have higher sensitivity, that’s why we use them for film.

We need that ‘crisp’ in actor’s voice, so don’t forget to turn on the phantom power.

Dynamic mics have lower sensitivity and are mostly used for TV reports and musical performances.

Then, there is directivity. Those microphones that uniformly pick up signals coming from all directions are referred to as omnidirectional. A common directional microphone is the cardioid microphone, so called because the polar graph curve is heart-shaped. A cardioid microphone is useful for recording live performances, where it is desirable to eliminate audience noise. A shotgun microphone has a strictly forward-directional response. It’s highly useful for recording a film on the set because it focuses precisely on the sound source. But be careful! A shotgun mic is also sensitive at its back end, so it can easily pick up a noise such as a neon light or a noisy street coming from its back-side direction.

You may know everything about microphones and you can bring dozens of them to a set, but if you don’t know how and where to place them at a given moment, you might as well give it all up. It’s important to know where the edges of a frame are, and stay as close to the sound source as possible. Yes, “we’re living on the edge.”

Sometimes, you will have to hide your microphone somewhere in the scenery or costume. That’s why lavaliere microphone comes in handy. It’s mounted on the chest of an actor and covered up so you can’t see it. The good thing is it’s close to the sound source, yet it’s important that you mount it properly. Costume fabric can get pretty noisy if interacting with the microphone, so make sure it’s covered with a tape or medical patch.

Be careful with the levels. Be sure to have the loudest signal possible, but watch out for the red lights zone, because it will clip and get distorted. If you record it too quiet, it will bring up a lot of noise afterwards, while processing the soundtrack.

Having a level rehearsal before the action is the best way to keep your signal safe.

Try to pick up some atmospheres. When on a break, after a take or a scene, take five minutes and record the atmosphere. It is usually pretty discrete and unnoticeable to the listener, but gives life to the space, and defines time; it creates the world we imagine as well as an experience. So ask for silence - it’s your birthright, and get yourself a nice atmosphere for later.

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Also, give some attention to details, because it’s all about details, and record sounds of all the characteristic objects and props on the set. If the actor is using one of these, it has to make a sound. But you will deal with sound effects only when sure the dialogue is recorded well. It’s paradoxical that you avoid some sounds at first, so that you get to record them as separate, and even reconstruct them in the studio later. But it’s all about having control and power over your sounds. When you have all the elements isolated and carefully treated, you can play with them properly. It’s even more paradoxical that you have to make a special effort in the process of mixing, making sure nobody notices anything you did. Because only

when you’re not concentrating on what you’re hearing, you’re experiencing the magic. But that’s another story.

Words are powerful. Language is essential. Lack of communication leads to misunderstandings and violence. A successful exchange creates harmony, love, and good films. Learning the language of film enables communication with the people around us who share our passion and skills. Ignorance is removed but once.

The communication between the director and the composer or sound designer is hindered if the director is musically untrained and unskilled. For a director who doesn’t know enough about the sound dramaturgy, technique and technology, the concrete use of sound resources and the fulfilment of the goals set before the crew represents the field of perpetual instability.

Just like any other stimuli that make a film, the design of the sound image is a process which has its many stages and undergoes filegree-delicate craftwork. We regard the raw material as ore, ready to be carefully treated and passionately processed until all the surface dirt is off, and the limber shines its splendid luster.

Every step is equally important, as negligence in one phase can cause a chain reaction for future work.

Keep your equipment safe and clean. Be neet and organised. Cherish your craft and it will cherish you.

Camera. Sound. Silence! Action!

Nikola Janković, Academy of Dramatic Arts Belgrade, Media Education Centre, Belgrade, Serbia

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FILMKULTURA Association for education in audiovusal culture, Belgrade, Serbia

FILMKULTURA is an organization dedicated to education in audiovisual culture and art, whose goal is the stimulation of a critical approach in the specified fields.

This kind of program focuses greatly on children and youth audience, especially on their initiation into the world of audiovisual media and culture. “Filmkultura” also stimulates linkage between film professionals, as well as their perfecting and specialization. The guiding idea of “Filmkultura” is to revive the cinema culture, and the culture of watching audiovisual content in general, as well as to substantiate the audiences awareness with theoretical knowledge. “Filmkultura” finds its place in mediating between talented authors and demanding viewers, and its main cause is creating and shaping this part of the cultural space.

“Filmkultura” intends to provide and realize: - education projects in the field of audiovisual culture and art intended for wide audience - improvement programs for students, young authors and professionals in the field of audiovisual art gathering place and a society of authors, critics and audiovisual art lovers

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Founders of “Filmkultura” are: Marija Stojanović, film producer Andrijana Stojković, film director and producer Vanja Kovačević, film editor and director Maša Seničić, screewriter/dramaturg Jelena Stanković, cinematographer Milan Stojanović, film producer

REALISED AND ON GOING PROJECTS: NATIONAL FILM DAYS - NFD Cinema Screenings of Films Most Talked About NATIONAL FILM DAYS is a program dedicated to the promotion of national film works.

Cinema screenings of documentary, short fiction, animated and experimental films which were supported by the Film Center Serbia.

We present the films that deserve to be seen, but are commonly not in the cinema repertoire.

NATIONAL FILM DAYS is held once a month in 11 towns in Serbia and over a twelvemonth period the total of 20 films directed by Serbian authors is presented.

After each screening the audience has the opportunity to talk with the film authors.

MINI FILM is an educational program designed for children and young people, age 5 to 14, with the aim to popularize film art among the youngest audience. The idea of this program is to awake creativity and curiosity, and above all to develop the critical attitude regarding what they consume.

Practical workshops where children independently come to conclusions are the best way for them to adopt and afterwards apply gained knowledge, whereas specially designed games encourage them to take an active role in creating something they have only been able to participate in as observers.

Through interactive workshops, which will result in short and animated films created by the participants, this program draws children into the world of motion pictures. By learning the simplified processes of film-making, children will better understand the art of film and, hopefully, develop a love for it.

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THE SHORTEST DAY is a one-day festival dedicated to short film, organized by “Filmkultura” and Dom Omladine Beograd, in cooperation with European Film Academy. ''The Shortest Day'' is held on December 21st, the shortest day of the year, which was proclaimed as the World Short Film Day because of its symbolism, and as such it is celebrated around the world with the purpose of promotion and popularization of short film. The program at Dom Omladine Beograd in 2013

included screenings of Serbian short films, presentations of the best European short films in 2012, selected by the European Film Academy, as well as a short film workshop for high-school students, held by Stefan Arsenijevic, and a panel discussion about the potentials of short film distribution for young authors and professionals, with Zelimir Zilnik, Nikola Majdak Jr, Andrijana Stojkovic and Stefan Ivancic as guests.

The Shortest Day is a long term project that will have it’s next edition in 11 towns in Serbia beginning this year.

FUTURE PROJECTS FINE-TUNING is a project for professional development and further education of film workers, art and film students, as well as other experts in audiovisual art and culture. The principle idea of this program is to focus on concrete problems in cinema, and to reflect on them more closely through various workshops and lectures in order to resolve them in the best possible way. The basis for a more profound and diverse understanding of the matter at hand is providing opportunities for film professionals, from all over the world, to interact and link, while at the same time bringing about the establishment of a modern model for film preparation, production and distribution among local authors. Another important goal of “Fine-tuning” is to introduce film professionals from different fields of work to their related disciplines. The program consists of two blocks in which lectures and workshops focused on a particular segment of film industry are being organized every weekend in host-institutions. All planned programs will be documented and published in order to provide detailed information on master classes and case studies.

FINE-TUNING will have it’s first edition beginning of 2015.

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WHAT I SEE is a program for audience development through education and stimulation of critical approach in the field of audiovisual culture and arts, focused on children and youth from 5 to 19 years old.

The objectives of the program are: - stimulation of critical opinion regarding the contents of audiovisual art and culture; - gaining basic knowledge of film heritage and emergence of younger audiovisual media, as a prerequisite for forming a responsible attitude towards national and world film heritage; - stimulation of cinema-going culture; - raising awareness of the importance of linking film art and other arts, sciences and work processes; - motivating the public to contribute to cultural and aesthetic style of living in theirenvironment; - development and improvement of aesthetic and dramaturgical criteria, visual perception, as well as creative and critical opinion; - development and encouragement of creative urge.

Educational programs are divided according to age: - children in preschool (from age 5 – 6) - children in elementary school (from age 7 – 15) - children in high school (from age 15 – 19) Program has three segments: - theoretical lectures - screenings of audiovisual contents (film, TV, video art), with a special focus on stimulating critical opinion - practical work, adjusted to the age and profile of the student WHAT I SEE will start with the pilot project in March 2015.

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GRAMMAR SCHOOL “TAKOVSKI USTANAK” Gornji Milanovac Serbia

If a global citizen, a young person who can speak at least two foreign languages and who is considered to be computer-literate, is the aim and ideal of modern education, it is necessary to perceive and present school subjects in a modified way which inevitably incorporates media education. The official curriculum supported by various extracurricular activities and different forms of informal education is the key to the accomplishment of the mentioned aim.

Grammar School “Takovski ustanak” in Gornji Milanovc is focused on the quality of education which is solidified by the skills our students acquire. The school policy is to perceive the future educational requirements-“the shape of things to come” and not only to provide general knowledge education but to encourage students initiative, innovation, open-mindedness, team work, social skills, language fluency, tolerance and multiculturalism. We have recognized the model of education for the future and got an opportunity to introduce bilingual education. In our bilingual classes Biology, Geography, Chemistry, IT, PE, Mathematics and Art are lectured and evaluated both in English and Serbian. In order to present their subjects in English in an adequate and qualified manner, our colleagues were obliged to attend courses and obtain required certificates. For the purpose of enhancing the results and increasing the use of the English Language, in addition to the regular English lessons we introduced extracurricular lessons (related to the British and American culture, history and art) and Civic Education lessons completely in English. The lessons are devised in a way which allows a student to actively participate contributing to the quality, taking part in decision making or materials and content selecting. This kind of organization is simulative and motivating, it creates a pleasant atmosphere and it focuses on both student and teacher development.

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The teaching concept we apply has enabled us to establish a successful cooperation with NGO sector and local institutions such as the Cultural Centre, Tourist Organization, Red Cross and our local museum. The school has also developed a successful cooperation with schools from Slovenia, Italy and Germany. The cooperation includes student exchanges, our culture and town presentation, the organization of different programmes for our foreign guests. Making documentaries, organizing exhibitions and different cultural events in cooperation with Cultural Centre in Gornji Milanovac was a useful and functional platform for developing this cooperation and realization of the mutual projects. The projects have raised and vividly depicted the question of cultural milieus- comparing and contrasting cultures, overcoming the differences and dealing with the

presentation, explanation and implementation of political correctness. With the purpose of genuine presentation of the contemporary cultural context, we found it quite useful to introduce newspapers articles, book extracts, documentaries, social networks, videos, theatre plays, films, filmmaking, etc.

The Cultural Centre Gornji Milanovac has provided our students and teachers with the necessary facilities, equipment and precious educational programmes. Due to the partnership, our students were able to learn about filmmaking from eminent experts, to make their own films, to participate in various competitions and take part in international juries.

The presented concept of education set Grammar School “Takovski ustanak” in the center of social and cultural events in our community; empowered our students to achieve the highest results on the national level; encouraged the students and teachers to organize school plays, musicals, exhibitions, quizzes; incorporated media education; strengthened the subjects correlation and the cooperation with local institutions and foreign partners. We make everlasting bonds with our students who gladly visit the school, take part in school activities and devotedly support all our programmes and projects even when they finish the school.

Dragana Stefanović, Grammar school “Takovski ustanak”, Gornji Milanovac, Serbia

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YOUTH CINEMA NETWORK

• YCN is a network of youth film festivals, organizations and film/media teachers that promotes and improves film-making by young people.

• YCN works to empower young film-makers to tell their stories by giving them tools and perspectives.

• YCN’s vision is - through international collaboration - to bring young film-makers and their stories to an international audience.

• The network’s ultimate goal is to enrich European film culture.

In September 2013 representatives of youth film festivals and media centers from 15 European countries met at the international festival of high school film ”Four River Film Festival” in Karlovac, Croatia. There they jointly founded the “Youth Cinema Network”. It is a network for European youth film festivals and media centers whose aim is to improve the exchange among member institutions and support youth film and media pedagogy.

The Network consists of partner festivals, organizations and associations which actively work in the area of youth film-making. It is imagined as a unique platform with a joint web page. The main goal is to empower European youth film-making, to encourage young film-makers in making films professionally and to provide them with tools and knowledge to tell their film stories on film festivals across Europe. Not only is there a web page which will transparently show activities of all organizations included in the Network, but there is also a Facebook page which will match the needs of young people who spend most of the time on social networks.

This is how everybody will be able to regularly get information about new activities in the Network, communicate with all the Seminar participants, etc.

How does this help you as film-makers?

Practically: when you enter a film, we will try to spread it through the network.

The network will also make it easier to apply for funding for international workshops and advanced training. We are planning on awarding an international prize for young film, designed to support outstanding talents.

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And, very importantly: we want to enrich European film culture by supporting especially authentic films, unusual and daring, which are in contrast to the mainstream in cinema and on TV. Contact: ycn@youthcinema.com

MEDIA EDUCATION SEMINAR AND WORKSHOP September, 24th - 28th 2014.

Varaždin, Čakovec Croatia

PARTNERS: CROATIAN FILM ASSOCIATION, ZAGREB, CROATIA LUKSUZ PRODUKCIJA, KRŠKO, SLOVENIA GOMBOLYAG, BUDAPEST, HUNGARY THE CULTURAL CENTRE OF GORNJI MILANOVAC, GORNJI MILANOVAC, SERBIA

WORKSHOP AND SEMINAR PROGRAM OF MEDIA EDUCATION

Media-education seminar, which got financial support from Erasmus + Agency for Mobility and EU programs for lifelong learning and is intended for Higher Education was held from September 23 to 28 in Varaždin and Čakovec (and with a short stay in Ludbreg), together with programs of the 52nd Croatian Children’s Film Festival.

It was attended by representatives from Croatia, Hungary, Slovenia and Serbia and group leaders of school film groups from Croatia. Among other information that the participants exchanged, they talked about the fact that in Croatia (and the same goes for other countries in the region) only 12 school lessons per year are dedicated to media culture and that is the case in only 11 secondary schools in which they regularly conduct such activities!

The seminar served as a platform for the development of a manual on media education in which experience and knowledge from the participating countries as well as reflections and recommendations for further development were collected. Promotion of the manual is expected at Dubrovnik Film Festival which will be held in mid-October.

Finally, in the workshop part of the seminar four works were made by children from Croatia, Italy, Hungary, Serbia and Turkey. On a presentation which was small, we could almost say intimate, and certainly filled with a sense of pride that was held on Sunday in the lounge on the third floor of Čakovec Hotel Park, somewhere between six and six thirty in the afternoon, while dusk was falling (along with mosquitoes!) above the city, fifteen authors, participants and spectators gathered (some were sitting on the floor, some standing...) in order to see the results of the four-days’ work. Actually, five-day’s work, because Sandra was still holding a laptop in her lap on which she finalized the animated film (shown last, when everything was done), and Ivana’s under eye circles as well as Karlo and Antonio’s three-day beards testified that they had been working every night to finish everything on time. Only Ksenija was smiling with her nothing-can-break-me smile, as always!

Then there were Nikola Janković and Matija Žibrat that greatly helped with their technical and other knowledge. And people drank, as is customary at such screenings. I mean, they drank chocolate milk from one of our sponsors! Some even drank two, I saw them.

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A nice film called A Bad Idea was made at the fiction film workshop led by Antonio Britvar and Karlo Batistić, both from the Association Hodači po žici. It is about the kids who initially do not know what to film (a film about a film!), and then opt for a story of an evil guy who steal harmless lady’s purse and everybody runs after

him. Ivana Rupić, leader of the TV report workshop made ​​with the kids a great story about the 44th Varaždin Barocco, a baroque music festival, with a number of relevant statements and comments of participants, organizers and passers-by on the streets of Varaždin. Participants of the documentary workshop, who mainly had little or no film experience (that was obvious from abundant contrasting light and the like, but well, children are still learning). Ksenija Sanković from KKK led them and they made a film on a little Turkish girl who was a member of the international children’s jury at the 52nd Festival, and who celebrated her birthday during the festival, happily stunned by all the attention and sympathy of other children and organizers. During that time, the animators, which were led by Vanima’s Morana Bunić and Iva Šobak, worked on the story called Animal Kingdom about various parts of the world presented by animals characteristic for it.

And so, it all ended in the only possible way, with a film, because of which we all (and everyone else) were there in the first place. We were full of pride, satisfaction and tranquillity after we realized that everything turned out great. And hopefully we will meet again soon!

Duško Popović, Croatian Film Assotiation, Zagreb

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HUNGARY EXAMPLE OF GOOD PRACTICE: KID’S EYE ORGANISATION

Our Association is committed to help as many children - whether living in families or in children homes - as possible to express their feelings and thoughts through the medium of film. Apart from teaching kids film making skills, we organise film making groups, summer camps, as well as festivals where interested visitors can view films by children from Hungary and other countries. We organize therapeutic film-making workshops for children living in child-care institutions. The Kid’s Eye Art Association has been leading child filmmaker-workshops for 12 years in childcare institutions, and we train educators to organize and operate film-workshops.

The children raised in child care institutions have very little visual feedback, and they have often false, distorted self-image. The filmmaker workshops or „study groups” are age-stratified groups which give possibility to formulate and channel their traumatic experiences in a virtual ground. Here, through the work they can discover their problems, could find a more realistic self-image and learn the basic joy of meaningful and targeted activities. In the film-making groups we use child psycho-dramatic and drama-pedagogical techniques and the way of traditional storytelling to bring children’s ideas to the surface and frame the film-making process.

During the last 12 years children were creating more than 300 hundred feature and documentary films in our courses and seasonal film workshops. Since 2007 we are organising a film festival called Kid’s Eye. During the festivals we are screening films from Hungary and many other countries. Our main goal is to make children - having different social background – to see and get known each other’s visual thoughts and exchanging creative ideas through the workshops which also operate during the festivals.

In Hungary in the formal education children start learning media studies from grade 7 to grade 8. There are two lessons per week but film-making as a practice is not part of the official curriculum. Students can continue their media studies in media and film oriented secondary schools and universities.

Nandor Grosch, Kid’s Eye organisation, Budapest MEDIA EDUCATION SEMINAR AND WORKSHOP

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HUNGARY EXAMPLE OF GOOD PRACTICE: BUSHO FILM FESTIVAL

MEDIA EDUCATION

However we didn’t start focusing only on education, but the foundation of the original activities plan was: “In the field of environmental education, activities, on the one hand, focus on passing on knowledge, whilst on the other hand, on inducing mentality changes promoting the formation of a more environmentally friendly and environmentally aware attitude. In the field of culture (which ranges from cinematography to music and through to various arts covering every cultural field), beyond passing on knowledge, activities aim to concurrently strengthen tolerance. We believe that anyone capable of creating art, or at least accepting cultural products, will become more open and tolerant towards accepting otherness.”

During the years we have started organizing summer camps for kids and for adults as well, in the beginning only animation then slowly a bit of everything so in the last few years we are organizing all-art camps during the summer for all ages! Last summer was full house by us in the framework of the project called “FILM-THEATER-MUSIC” workshops for elementary and middle school students!

Do you want a sho®t? The BuSho (Budapest Short) Film festival was established in 2004 by a group of young Hungarian filmmakers in order to fill a gap in the category of short film, but over the years it became clear that it was about much more. “BuSho Vision is not a media campaign against the US President!” After this article published on shortfilm.de in 2005, the international breakthrough came rapidly, on the 3rd festival in 2007 shorts were screened already from 45 countries. The festival celebrates it’s 10th edition in 2014. The name “BuSho” has come from a pun (Budapest Short - budapesti rövid), but it refers to a traditional popular custom of winter-send-off from Southern Hungary called “busójárás”.

One of our main goals is to develop, present and caught up the cultural identity of the Eastern European audiovisual sector helping it to give more experts to the market. We aim to give ground to young filmmakers for they can introduce, create and together we can make a new European Value. The number of entries in fiction, animation and experimental category is gradually increasing, in 2011 there were 962 shorts to be selected by the pre-jury of which 90 can make it to the competition. Beside the competition and informational program we have plenty of festival screenings, selections of film universities, feature films, film-, and all-art workshops in the program. Everyone welcome at the first week of September each year in the heart of Europe in Budapest. Come along and sniff up some culture. http://busho.hu/

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Tamas Gabeli, Busho Film Festival, Budapest

SLOVENIA FILM EDUCATION IN SLOVENIA

The purpose of film education is teaching children and youth to watch movies, achieve a critical look, to understand and get a hold of opinions about film. In addition to theoretical knowledge, it is good that they know film language, use of cameras and other recording equipment and the basics of editing at this time of development of new technologies.

As for film in formal education our curriculum is quite similar as in Croatia and Serbia, with some slight differences. But we are preparing a new curriculum where children between 4th and 6th grade of elementary school could choose film as elective subject. So we are still waiting for a program for teachers to be able to teach film. For now, children encounter film at the cinema and at their media lessons, where it depends mostly on their teacher’s interest for film.

The main funder of film education is the Slovenian Film Center, which organizes film workshops through Art Cinema network. JSKD (Public Fund for cultural activity) organizes an annual festival together with workshops where works by young filmmakers can be shown. The main organizer of youth film education in Slovenia is the Public Service Kinodvor, which educates children and teachers with its program Kinobalon. Then there is the Slovenian Cinematheque with its program for youth and teachers which is revived in the Museum of Slovenian Film Actors in Divača in Kras. In terms of animation, there is the Association for story revival called 2 wheels which has their programs Elephant where they prepare activities for animated film for schools. In Maribor the Association for the development of film culture with its program for animated film called Enimation and a group called Film Factory work the most. On the Slovenian coast there is a festival featurelength film KinoOtok in Izola and they started with a program of film workshops and education for children called Submarine.

MEDIA

The team of Luksuz Produkcija is active in Krško and it has been working for more than a decade. It organizes summer and winter workshops for children in Krško and goes to various schools and institutions where children and adults learn about making short films.

Young authors can get their work shown at festivals for young authors such as Videomanija, Zoom, meeting young film and video makers of Slovenia, FOFI, Luksuz Cheap Film Festival...

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Tomaž Pavković, Luksuz Produkcija, Krško

SLOVENIA EXAMPLE OF GOOD PRACTICE: LUKSUZ PRODUCTION

The Luksuz Production, DZMP is the video production arm of the Society of Allies for Soft Landing, Krško, Slovenia (DZMP) established in 1997. Since 2001 Luksuz Production premises have become an important “video classroom” for young video creators and a production center for new generations of film and video makers. It is one of the pioneers in the democratization of film as a medium in Slovenia. Since 2001 Luksuz Production has been intensifying its educational activities. All through the year it runs workshops and courses for children and young people. These are winter and summer film workshops for children from Krško area, „Submarine“ film workshop as part of the Kino Otok Film Festival programme for kids, workshop on feature film for children and young people at the Museum of Slovenian Film Actors in Divača in cooperation with the Slovenian Cinematheque (Slovenska kinoteka), workshops at schools all around Slovenia.

The main principle of all educational activities of the Luksuz produkcija is “learning by doing”, that’s why alongside of solid theoretical trainings participants gain much practical experience with the support of internationally renowned film professionals from the region.

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- Kids film workshops in Krško are the annual extracurriculum activities provided by the Luksuz produkcija during winter and summer holidays for kids and youth between 10 and 18 years old. The main principle of the workshops is learning by doing, that‘Based at DZMP video studio the weeklong workshops offer to children and youngsters the possibility to go through all the stages of short film making.

Under the guidance of the proffesional film pedagogue and with the support of DZMP EVS volunteers kids step by step develop their ideas into film. Participant obtain skills and knowledge in short script writing, storyboard making, planning of shootings, film crew casting/distribution of roles, camerawork, light set up, acting, sound recording, safety measures during the shootings, editing, work with free music archives and film soundtrack. Work with EVS volunteers is a significant part of the experience which children gain during the workshops, as volunteers offer different approach to film making as well as they enhance kids knowledge of English and film related vocabulary in English. Annualy more then 50 kids attend Luksuz produkcija winter and summer workshops and around 15 short movies are being produced. Each workshop is followed by public screening of the kids movies with discussion and Q&A section, which help to children to develop skills in presenting their works and public speaking, as well as promote film education to parents and broader community. This year summer kids workshop became a classroom for 6

future film pedagogues which participating in the educational program for film educators in Slovenia. In this way the Luksuz production takes part in the education of film teachers in Slovenia.

- “Submarine” film workshop at the Kino Otok Film Festival (Isola, Slovenia).

The Kino Otok – Isola Cinema international film festival, which is held annually in Izola and Ljubljana, Slovenia, since 2004. The workshop on the basics of film language and making short documentary films on the town of Isola is conducted annually by the Luksuz production for youngsters between 13 and 16 years of age since 2012. The films shot within the Submarine workshop are debut within the scope of the program Projections and presentations of films by young artists during the Festival.

- Workshop on feature film at the Museum of Slovenian Film Actors (Divača, Slovenia).

The weeklong workshop is being held by the Luksuz production in cooperation with the Museum of Slovenian Film Actors and the Slovenian Cinematheque the third time. This year the workshop took place in the 4th time and it gathered 16 kids and youngsters in the age between 8 till 17 years. The films produced by children under the guidance of the Luksuz production crew members represent variety of styles, techniques and genres available to young filmmakers: docu drama, comedy, parody, horror, black and white, silent film are among these different approaches chosen by the participants of the workshop.

Children and young people from Krško area are active participants and contributors of the Youth TV Magazine “Mladdinska oddaja” which was started in 2003 and is available on the Luksuz produkcija YouTube channel. Youth TV magazine presents activities and events in local area and all over the country as well as some events in the region. At first it has been broadcasted every last Tuesday of the month on local television TV Krško. After its suspension in 2009 it was shown on TV PIKA, broadcasted through satellite. “Mladdinska oddaja” features different youth projects, cultural events, some young artists and activists. It presents topics and opinions that are often ignored in “mainstream” media and in this way it gives an opportunity for youngsters to develop critical thinking, creative approach to the hackneyed topics, to express themselves and to find supporters. Besides these capacities the production of Youth TV Magazine helps children and young people to obtain basic skills in TV reporting, anchoring and presenting.

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In 2003 the Luksuz Production launched the Luksuz Cheap Film Festival as a showcase for short and low-budget film productions by both domestic and foreign experimental, alternative and socially aware directors and activists. Luksuz film festival wants to show short and low budget production of domestic and foreign authorial, alternative, activists’ films and videos, which are made especially by young authors (<30) in traditional or “garage” productions, in the clubs, in the frames of non-commercial, authorial, non-institutional productions and mean the alternative cultural media image to otherwise dominant official mass distributors’ offer, which is mainly controlled by big distributors with traditional “Hollywood” program. Among sections of the Festival there is also place for movies made by kids, the best among which is being selected by a special kids jury. The jury is formed by the children who actively participate in the Luksuz film workshops and the production of Youth TV Magazine. Participation in the Festival activities supports young filmmakers and enables them to make one more step into the filmmaking community of Slovenia.

Besides educational programs for children DZMP Luksuz produkcija is actively

involved in education of young filmmakers at national, regional and international levels. It runs an international youth exchange program involving film workshops and seminars. Some of its projects have received support from EU institutions and organizations and have been included in their program, like the project of intercultural dialogue named Divided God which involved around 40 young participants from different parts of Europe working on documentary films (the workshop was led by well-known film maker Želimir Žilnik) and was supported by the EU program Youth in Action, the European Cultural Foundation (ECF) and the Public Fund for Cultural Activities of the Republic of Slovenia. In 2009 the DZMP project Together on the Road was launched: a group of Roma youngsters from Slovenia, France, Serbia and Kosovo explored and filmed the Roma culture under tutorship of professional film-makers for 9 months, and eventually made three documentaries. The project got the grant of the Balkan Incentive Fund for Culture (ECF).

For 12 years already every year DZMP Luksuz production has been organizing the International Documentary Film workshop in different towns and cities of Slovenia, where more than 40 young filmmakers (from 18 till 25 years old) from all over the Europe are gathering to produce a short documentary in 15 days under the guidance of well-known film makers from the region. The first 2 days the participants have introduction lessons, searching and discussing the potential themes – ideas for documentaries, later they split in small groups of 3-4 people and start shootings. The last few days is the time to edit the materials. Throughout the working process the participants are supported by mentors – experienced film directors Želimir Žilnik (www.zilnikzelimir.net), Marko Cvejić, Igor Bezinović, DOP Jure Černec and editors Nemanja Babić, Bob Miloshevic. They also run short workshops on specific topics (introduction into documentary film, film language, using of camera, lights, sound, editing) according to the needs of the participants.

The main idea for selection of the topics for workshop films is the possibility of reflection to the society by young people. In the same time it is expressions about young people by themselves, who they are, what they are into, what they stand for... More than 30 short documentaries of various genres are being produced each year during the International Documentary Film workshop.

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Sasha Ihnatovich, Luksuz Produkcija, Krško

SERBIA MEDIA EDUCATION IN SERBIA

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Media education is not officially incorporated in the curriculum both in primary and secondary schools in Serbia. The media is nevertheless an important part of teaching and learning process. It is mostly implemented as teaching innovations or teaching aid and resources. The Ministry of Education has recognized the importance of media education and there are accredited teachers development programmes which enable teachers to enhance the necessary skills for the interactive use of the media in teaching and lesson planning.

The conducted survey has shown that in primary schools in Serbia there are various elements of media education within different subjects such as Serbian, English, Art, Music, Science and there are subjects like “From Toys to Computers” and IT which mainly cover the topics and methodology of media education. Nowadays it is not the matter of pandering to our students’ interests when we use the Internet, videos, documentaries, CDs etc. It is inevitable to enrich and modernize education and unfortunately it only depends on the available equipment and teachers’ enthusiasm.

The secondary schools in Serbia reflect a similar situation in terms of media education. Analyzing the curriculum, we can find elements of media education embedded in foreign languages, Serbian, IT, Music and Art. It is also important to emphasize that the age of the students and the flexible teaching approach may pave the way for teaching innovations and subjects correlation which represents a solid foundation for the use of the media.

Grammar School “Takovski ustanak” has recognized the model of the education for the future. This model strongly relies on the implementation of media education. We cannot neglect the fact that our educational system does not enable the teachers to teach the media, we can only use the media in our work, and hence our school established a partnership with Cultural Centre in Gornji Milanovac. This institution organizes informal education for our students- filmmaking workshops, drama clubs, photo clubs, etc.

Eminent experts give lectures and run workshops therefore our students are able to gain knowledge and skills which afterwards they apply when they complete the school tasks.

In order to enhance the quality of education we introduced bilingual classes where students have biology, geography, chemistry, IT and art lectures both in Serbian and English. We apply a student-centered interactive approach which encourages our students to take an active role in lesson planning and teaching. The importance of media for this kind of teaching is indispensable.

The results have undoubtedly surpassed all the expectations. We have managed to successfully conduct or participate in various international projects (students exchange programmes with Slovenia, Italy and Germany;

Connecting Classrooms organized by the British Council; International Tourism Fair in Slovenia; International Student advertising scene SloveniaDOSS 2011, etc.) The students have been able to use different types of media in order to express themselves and demonstrate their knowledge (school publications; literary contests; musical Mamma Mia; school play about Shakespeare and his works- Our school was a stage; English quiz, Fakebooklearning about English and American writers using social networks; various exhibitions related to visual representation of certain topics; students’ films: My School, To be or not to be a global citizen, Guests from Germany, Ecology, etc.)

The curriculum has certain potential for media education implementation through subjects correlation. The media can be used as a strong adhesive which connects different subjects e.g. using technology we can easily and meaningfully connect English conditional sentences to maths functions and then combine it with an IT Excel lesson or we can combine a listening exercise about brain functions with a biology lecture. This concept of teaching solidifies teaching and provides practical knowledge. Extracurricular activities are also important for innovative teaching. They scaffold the regular lessons and provide more opportunities for the students to express their creativity and interests and to apply their knowledge (English in films- learning about the English literature and culture; Tourist dictionary- creating and designing a publication, The History of Great Britain- multimedia lectures; etc.)

Media education is an essential part of contemporary education. It is not necessary to have a new subject or to develop a special model, we can incorporate it in each of the school subjects; organize extracurricular activities; encourage our students to participate in informal educational programmes; give online homework or let our students express themselves using PowerPoint presentations, videos, music, posters or films- this is our present not our distant future and we have to go with the “technological flow”. We strongly believe that the partnership between Grammar School “Takovski ustanak” and Cultural Centre Gornji Milanovac can be an example of good practice in the field of media education.

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Dragana Stefanović, Grammar school “Takovski ustanak”, Gornji Milanovac

SERBIA EXAMPLE OF GOOD PRACTICE: EDUCATION CONNECTS

In Serbia, there is no media education but teachers conduct training through different methods and units within existing subjects. Research has shown that using audio-visual media as a means of education enhances students’ motivation, their engagement, resulting in a higher level of student achievement.

According to the curriculum there are teaching units that deal with the basics of audio visual media. Additional engagement in the matter depends only on the individual enthusiasm among teachers and professors. It is therefore all the more frequently the case that this kind of education is realized through extracurricular activities.

An example of good practice is the cooperation between Grammar school “Takovski ustanak” from Gornji Milanovac, Cultural Center Gornji Milanovac and Filmkultura association from Belgrade. Considering that the school recognized the needs and interests of students to express themselves through the different subjects in a creative way, a series of extra-curricular activities has been started.

Through film, TV formats, theater and social networking, students are given the opportunity to make the existing curriculum more interesting and more interactive to themselves. Also, when using media, in parallel with the mandatory program, students learn media skills and create a means of expression. The result of these extracurricular programs are motivated students who successfully realize the envisaged school assignments, further engage in international projects and actively participate in local community life.

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Cultural Center of Gornji Milanovac plays a vital role in the creation of cultural and artistic programs of the city. Part of its activities is aimed at pupils and youth work.

With their expertise and technical resources, Cultural Center provides after-school education and closely cooperates with all schools, especially with the Grammar school, in raising awareness about the importance of media literacy from an early age. Through workshops of various types (visual, theater, speech, photo workshops, school of design, film and journalism workshops...) students can expand their knowledge and develop critical judgment and talents that they have. In addition to these workshops and their products, the Center realizes of a series of significant events (International Short Film Festival “Kratka forma”, the international biennial of miniature arts, fine arts and film colony...) and international cooperation, which directly improves the quality of life throughout the community.

Filmkultura is an organization from Belgrade dedicated to educating in the field of audio visual art and culture. Filmkultura emerged from the aspirations of young

film professionals to do what they can and what they are competent in in order to raise the level of awareness, relationships and critical thinking of a wider audience in terms of audio-visual culture, especially cinema. These goals are successfully achieved through educational programs (DDF - Day of domestic films, Little Film Film and Television educational workshops for preschool and elementary school, The Shortest Day - one day movie marathon of short films...). In cooperation with cultural centers throughout Serbia, Filmkultura spreads knowledge and experience closely related to the audio visual media.

The idea of cooperation between these types of institutions (schools, cultural centers, professional organizations) combines all the necessary factors and conditions for the provision of expertise, optimum conditions and wholehearted support in order to stimulate young people, create critical thinking, acquire basic knowledge of domestic and international cultural heritage, lift awareness of the importance of media in society and motivate in contribution to improving the aesthetic and cultural lifestyle.

Marija Stojanović, Filmkultura, Belgrade Dragana Stefanović, Grammar school “Takovski ustanak”, Gornji Milanovac Boban Stefanović, The Cultural centre of Gornji Milanovac, Gornji Milanovac

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SERBIA EXAMPLE OF GOOD PRACTICE: THE CULTURAL CENTRE OF GORNJI MILANOVAC Institution of culture, arts and extracurricular education Cultural Centre of Gornji Milanovac was founded in 1971. In the last 44 years it has grown into a modern institution, without which today preparation, organization and implementation of more demanding projects in the field of culture would be unthinkable. Since its inception Institution is dedicated to working with children and youth.

International Short Film Festival “Short Form” (with a segment dedicated to filmmaking for children and youth), the International Biennial of Miniature arts, Film and Art Colony, and Miniature Biennial make the Cultural Center of Gornji Milanovac recognizable on the international artistic and cultural map.

Also, with its numerous workshops and educational programs, Cultural Center is a gathering place for children and young people who want to express their creativity and expand their knowledge in the field of culture, art and media. Speech expression, drama, letters, books, newspapers, comic, magazine, posters, brochures, radio, film, television, computer and Internet, are as media omnipresent in workshops and educational programs for children and young people organized by the Cultural Center. Literary workshops or reading for children called “Čičamičalište”, drama workshop, journalism workshops, art and comic workshops, film school and other film workshops are just some of the workshops where young people acquire and enhance their knowledge and express creativity.

We can say that with its diverse educational programs and workshops Cultural Centre enables young people to acquire and improve linguistic, artistic and media, i.e. audio, the visual literacy through different contents and forms of work.

The main tasks of these workshops are very similar or almost the same as the ones presented in the curricula of primary and secondary education, namely: developing of motivation, encouraging creative thinking, training for visual and verbal communication in traditional and contemporary media, developing and improving confidence, emancipation, tolerance, human attitudes and cooperation, formation of positive attitude and responsible attitude towards the artistic and cultural heritage, development of creative thinking, visual perception of curiosity, imagination and innovation.

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Through independent and team work young people gain and improve knowledge, which enables them to present their ideas and work in traditional and contemporary media.

In this section we will talk about film workshops, i.e. School of Film and Film Colony

which is an integral part of the International Short Film Festival “Short Form” held in Gornji Milanovac since 2009.

The pursuit of film workshops, i.e. educational programs related to film art which are organized at the Cultural Center is to be considered as one entity, disclose all about film as an artistic expression and film expression as a means of communication.

Participants are taught the basics of film language, film literacy and basic film steps, and later, during further training they enhance their knowledge and skills related to film. They get to know the history of film with special reference to the past Serbian cinema and so they slowly enter into the world of film. In addition to the basic concepts, the students are provided with the basic knowledge needed to successfully develop the concept of directing, scriptwriting and production.

Through practical exercises and learning through film examples and analysis they apply knowledge acquired in workshops and educational programs.

Boban Stefanović, The Cultural centre of Gornji Milanovac, Gornji Milanovac

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CROATIA MEDIA CULTURE IN THE PRIMARY SCHOOL CURRICULUM IN CROATIAFROM STANDARDS TO REALIZATION At this year’s 52nd Croatian Children’s Film Festival, in the seminar program on teaching media in Croatia and the neighboring countries, the introductory lecture was dedicated to teaching media in the primary school national curriculum considering the fact that the participants of the Festival were primary school students. Since the year 2006 this field has been regulated by the Croatian National Educational Standard (HNOS), as the foundation document which, according to its authors, introduces a completely new approach in primary school teaching which focuses on the student rather than the curriculum.

The main goals for the authors of this document are the more appropriate teaching and the balance between the three educational levels. The most comprehensive subject on primary level is the Croatian language, which is something the authors of HNOS explain with the fact that it is most closely related to all other subjects being taught in Croatian. One of the four main components of the Croatian language taught in primary schools is media culture (the others being the Croatian language, literature and communication), whose aims are communicating with the media (theatre, film, radio, newspapers, comics, information technology) the reception of the play, film, radio or TV program and finally enabling the students to evaluate the media and art content such as radio and TV programs or films.

Carefully structured and ambitious program of media culture directs the student to the widest range of media contents throughout the eight years of primary education, starting from the introduction of the basic concepts in the first grade (cartoon, puppet show, library) to developing a scope of analytical approaches in the eighth grade (the features of a work of art, the roles of the author, art tendencies). It is worth mentioning that there is a carefully selected list of recommended films that can be used in the lessons of media culture. However, depending on the human and material resources of the school, in most schools there are too few classes dedicated to media culture (12 a year on average) along with the permanent debate whether this increasingly important educational field should still be a part of the Croatian language classes or get introduced as a new subject. The neighboring countries have similar experiences. However, Croatia has strong foundations in HNOS.

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dr. sc. Boško Picula, Zagreb

CROATIA MEDIA EDUCATION IN ACCORDANCE WITH CHILDREN’S AGE

Modern society is overflowed with media (newspapers, photography, film, television, video, the Internet, computer games). Moving image media dominate (film, Internet, computer games, television...), which is a civilizational milestone from the last century with unforeseeable development opportunities, but also dangers in the present and the future. It is therefore necessary to educate teachers, children, and parents about the media in order to obtain equal, critical, active and creative thinking in this area. Film contents are in this situation of particular importance.

In the educational process with the basis of film theory, film representative works, their aesthetic and critical evaluation we should give children an opportunity to express their feelings, opinions and attitudes in the medium of motion pictures.

Media education in primary school is poorly represented (teaching media studies mainly from a theoretical point of view) and of great value are film groups which function as an extra-curricular activity. They are an excellent way to “update” the lack of education about the topic. Working in film groups is the most effective method for children to learn and understand ‘characteristics and effects’ of media in creative relationship to film.

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Film group as an extra-curricular activity of students: - Promotes and develops an interest in film and video - Enriches students’ film and visual culture - Qualifies for the experience and understanding of film and television types and shapes - Develops a critical attitude towards film - Introduces the most important Croatian and international films - Enables students to independently acquire new knowledge and skills and the use of techniques of filmmaking and video - Enables students to master specific cinematic and video techniques - Develops skills of observation, perception, judgment and exploration of the school environment - Promotes and develops students’ creativity - Fosters independent work and community work - Nurtures a culture of work and creates work habits - Encourages critical thinking - Develops a sense of responsibility and ability to make decisions - Relaxes students

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- Develops competence, confidence and security - Fosters individual approach - Encourages tolerance and teamwork - Allows you to get through the game and in a fun way, create new or modify old attitudes, create positive emotions and a sense of belonging - Helps affirmation and learning various social skills - Contributes to meeting new students (festivals, meetings) - Affects the convergence of students and teachers - Contributes to the integration of school and society The school curriculum encourages individual approach of students (gifted, average, less talented students with special needs), and individual approach can best be realized precisely through various kinds of extracurricular activities.

Content, methods and work plan in extracurricular activities do not have strict rules and grades and there is freedom, spontaneity. However, it is necessary to adjust the mode to students in groups based on their interests, background and general features that indicate normal developmental pattern by taking into consideration that every child is a separate individual and has a unique personality.

When working in film groups, it is important to know that children in the lower grades of primary school (7-10 years) partially understand film. They understand easier content and the pay greatest attention to the filmâ&#x20AC;&#x2122;s story.

They like to identify with the heroes of film and deflection of the hero and the film in its entirety is present, as well as inserting their own thoughts and feelings in the film plot. They show great interest for fairy tales, animals, action, mixed reality and fiction. Interests of the students of this age to any kind of activity are instable and are not differentiated. What can one do with the kids in a film group in the lower grades of primary school (7-10 years)?

- After seeing a film express experiences by talking, drawing, modelling - Certain scenes can be reconstructed with children through play - Talk about the film (removal of impressions) - Organize meetings with film makers (introduction to cameramen, actors, etc.).

- Organize film screenings in the classroom - Maintain a classroom video store - Introduce the equipment to the students - Enable students to master the basic concepts of film means of expression - Introduce children to writing screenplays or storyboards - Organization of set design, costume design, etc..

- Make short films Children in higher grades (10-14 years old) are focused on the concrete. During this period, logical thinking appears for the first time. This period is extremely favorable for the development of criticism and taste (due to a combination of reason and imagination). Interest for filmmaking appears and children of this age understand the basics of filmmaking, they are interested in exploring the way the camera works. Students in higher grades admire the heroic feats of TV and film heroes, identify with the main protagonists, and cult of personality and identification appears. Children in higher grades (10-14 years old) in filmmaking can: - Work on the synopsis, script, storyboard - Implement short films and thus express their problems, thoughts, feelings - Talk about the film (the plot in the movie, features heroes, distinguishing genera film, film content ...)

- Discuss the technical aspects of the film (set, tricks, recording techniques, soundtrack, etc.).

- Do long and thorough research for the film - Develop an interest for film editing

Working in a film group, in addition to a diverse group of skills (technical, literary, theatrical, film), allows children to acquire more comprehensive education (aesthetic, ethical, professional, intellectual...), enriching childhood and adolescence with joy of creation and allows children to train on their own. In such a way, they sharpen their talent for aesthetic communication with one or more branches of the arts. Also, media education enables students to develop a critical attitude towards everything that is offered to them, to distinguish right from wrong, good quality from poor quality. ‘So, by investing in media education we create a precondition for a new generation of users (consumers and producers) who will strive to better content. The sharp interest among children for everything film represents is a perfect foundation for early media education, developing sensitivity for the intangible values ​​and makes children more imaginative and open to new expressions and art forms.

Film culture acquired by someone’s own creative attempts to express a moving picture is deeper and more lasting than that based only on observation and study of other people’s films.’ (S. Težak) Ivana Rupić, I. Šižgorić Elementary School, Šibenik

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CROATIA MEDIA EDUCATION IN HIGH SCHOOL

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Media education in Croatia is present at all levels of education, but most neglected precisely in the school secondary level, despite the fact that the National Curriculum Framework for Preschool Education and Secondary Education gives a general proposition in which media culture is cited as example of optional subjects and film art is cited in the framework structure of the artistic and educational areas in high school. In fact, according to the Ministry of Science, in the school year of 2013 / 2014 a total of 443 high school students in Croatia listened to film art as an optional subject. The above course was lectured in 11 secondary schools.

These schools are as follows: Construction School in Čakovec, Vocational School in Opatija, Natural and Graphic Art School in Zadar, High School Čakovec, Private Gymnasium in Varaždin, Gymnasium in Karlovac, Gymnasium in Dubrovnik and in Zagreb: Private Art Gymnasium, IX Gymnasium, X Gymnasium and XIII Gymnasium.

The reasons why film art as an optional subject is a necessity at the present time need not be specified, but the question is why this subject is so poorly represented in Croatian schools. The conclusion imposes itself: secondary school teachers are generally not qualified to teach film (for example, in studies of the Croatian Language and Culture in most cases there are no film course studies), and it is necessary to establish a modern methodology of teaching film just for high school, i.e. Cinematic pedagogy oriented exclusively to the secondary school level. The establishment of such a pedagogy would certainly contribute to the experience of those few teachers who teach film art in secondary schools, as well as media and educational seminars such as this one, which took place at the 52nd Croatian Children’s Film Festival, where the fellow teachers clearly articulate their views about the necessity of teaching film in secondary schools.

To high school students, who are active consumers of films and are often not critical of what they watch, especially for those who are looking to expand their film knowledge, should be able to learn more about film education and the first result should be an elementary literacy in film that certainly means film good knowledge. Purpose of film education was excellently formed by Stjepko Težak in his Methodology of film, and it is, in short, to enable students to critically receive messages from the screen, to develop aesthetic sensitivity, intellectual and imaginative in abilities, but also humanistic worldview.

So, it is not essential that high school students are able to list the most important works, such as Godard’s opus, but they need to be able to actively watch a movie, to critically question what they see on the screen, to reflect on the movie, to love the movie and that their taste gradually develops and becomes more refined according to their film literacy. Students of the Zagreb

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XIII. Gymnasium are evidence that this is possible. They chose cinematic art as an optional subject and each school year they willingly spend school holidays in Tuškanac on Experimental educational film for high school students organized by the Croatian Film Association. The current seniors of the XIII Gymnasium in the first year of high school showed great resistance towards silent black and white film and films of a slower pace, but already in the third grade that resistance is almost completely lost, and students are able to independently analyse the form and content side of the film, recognize its aesthetic guidelines, as well as surprise us with their statements that, for example, Berković’s Rondo is their favourite Croatian film or by giving independent conclusions about the importance of framing for the development of relations between the characters in the film.

Teaching film in high school includes teaching the theory and history of film, which is based solely on film examples. According to Stjepko Težak’s recommendation, which is confirmed in the teaching practice, the students should try to watch the complete film work and then, by raising learner-centred issues they should themselves draw conclusions, analyse its formal, substantive and stylistic features.

Film literacy is something that must be gradually and thoughtfully developed taking into consideration the interests, maturity, cognitive powers and the age of the pupils. Actually, with a film well chosen, especially with regard to age, students can be motivated to do their own research and watching, while the wrong choice of film may repulse them from the film and from film education. Showing some of Bergman films to the first-or second graders of high school, who do not know much about film and are used exclusively to American blockbusters, would probably be quite counterproductive. Thus, in the first or second year of high school one should take into account the principle of likeability of the world presented in the film students should be “won over” by a film that is close to them and entertaining.

While teaching film education in high school one should not shy away from the fact that the film, except the fact that it is art, can be fun, especially at their age.

Of course, this does not mean that students should be allowed to watch only those movies that they love, regardless of their artistic value.

When selecting films false Puritanism needs to be forgotten and one should keep the principle of opposition to censorship when it comes to movies where there are sex scenes or explicit violence. Specifically, high school students are usually accustomed to much more explicit films from those that are considered to be appropriate to their age. For example, Requiem for a Dream by Darren Aronofsky is very often one of their favourite movies, and it is a film that describes the brutal consequences of drug abuse, and, among other things, shows explicit prostitution.

Students need to be taught that violence or sex on film are not for their own sake and to warn them that they can miss the screening of the film if they think their parents would not approve them watching a particular movie.

Due to influence of television and the Internet, it is necessary to point out that new research should be carried out on the characteristics of the reception of film for children and young people since the current literature seems out-dated.

However, the experience of working with high school students confirmed that they are mostly able to understand film language and actively watch a movie and that by the end of continuous secondary school film education they are in a position to fully grasp the essence of a good film, analyse it, interpret, and receive in a critically mature way.

Conscious education policy will certainly recognize the need for continuous media, and especially film education of children and youth. This media-training seminar, it seems to me, is one of the efforts to give high school students their right on education about film art.

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Ana Đordić, XIII Gymnasium, Zagreb

CROATIA YOUTH AS MEDIA EDUCATORS

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Our stories are very different, but still the same. What does a young media educator do? Of course, he or she knows what he does when they work or volunteer, yet it is still like asking a human being why he lives on the planet Earth. It just so happened that both of us started learning about film very early in our lives. Not much time had passed until we started holding our own workshops and lectures.

Our paths crossed only less than a year ago on a field trip to Slovenia. Now, we meet at festivals and work together more and more often.

Both of us have the same goal: to transfer all of our knowledge about film and media on to people who either don’t have much experience, or don’t have any experience at all. There are many associations one can think of when he or she hears the word “media educator”, yet it is almost never young, most probably because most of the people think a good educator is defined by many years of experience and not at all by the generation gap between the teacher and the student.

By all means, we are dedicated to teach everyone to be literate in media. Just some common attributes include the ability to analyze, access, evaluate, assess, comprehend, review, produce and critique information from a variety of media.

Nowadays, since there are a lot more bad news or politicians’ absurd statements in the news and on the TV, news about youth projects, national as well as international, are very rarely to be found publicly available in the media. The biggest problem of teens’ media influence is that there is a big shortage of quality youthbased news portals, TV channels, shows and magazines run by youth. Using film as a tool for homework, expressing opinions, indicating current issues in one’s area, developing creative ideas or educating others is almost not at all present in the modern society in Croatia. We are devoted to fixing these issues by teaching, indicating problems, involving the most possible number of people, communicating and organizing events.

Only a few of many positive aspects of young educators is the enthusiasm for the work they do, technical literacy, the social aspect of teaching and meeting new people, managing the projects, sometimes travelling and having fun, etc. Some think that negative aspects we often happen to be dealing with are lack of experience, free time, complete devotion or funds and technical equipment for the realizations of our intentions. These are not crucial by any means and one can still be a good educator if he or she has a really strong will to constantly improve his abilities, as well as abilities of others. Small acts multiplied by millions really can transform the world.

Where can one learn about media in Croatia? There is a media culture program integrated in our mother tongue curriculum in elementary schools, yet not all teachers carry out the task of holding these lectures to their pupils. The problem is that there are no certified lecturers of media culture. The filmmaker (often) knows nothing about pedagogy, and a pedagogue (again, often, but not always) knows very little about film. This problem could be solved by the Ministry of Education, Culture and Sport, but not much is done about it. No one seems to care about the cultural future of media non-literates. Usually after finishing elementary school one can still make films by the means of being part of film associations and clubs, as well as participating in workshops held for the community.

There are many benefits of having a young media educator in your film club. The ease of communication with children and teenagers when transferring knowledge is truly astonishing. Similar points of interest make it even easier to communicate, just as well as smaller generation gap. The working and learning atmosphere is commonly more relaxed than the atmosphere of adult educators when they’re working with children. Young educators are always available if you need any kind of help or advice. You can truly relieve your daily schedule only when you have him/her to rely on.

If you are an adult media educator, now would be the time to stand up for everyone’s media literacy by teaching others the art of film as well as engaging young media educators in your film club or association’s year plan, if you haven’t already. Mutual student mentoring between film club participants and students in the classroom who do not participate in such activities is always a good idea to start with, just as it would be if a pedagogue could teach a filmmaker, and a filmmaker would teach a pedagogue more about their professions. And where would we be if they could be certified to hold lectures after such a meeting, e.g. a seminar? That way our whole country would not only be more literate in media, but more aware of the events happening not only in our country, but in the world as well and more demanding for the changes in our society we so urgently need.

Antonio Britvar, Association “Hodači po žici”, Zagreb and Ksenija Sanković, Cinema Club Karlovac MEDIA EDUCATION SEMINAR AND WORKSHOP

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CROATIA MEDIAPEDAGOGICAL APPROACH IN BOARDING HOMES

I strongly believe that we will all agree there is no doubt that media education, together with writing, reading and calculating is the fundamental pillar of education so we can finally conclude that media literacy should no longer be regarded as a special form of literacy, but as one of the foundations of literacy in general. The concept of literacy from its beginnings included the skill of interpretation signs on paper which, if agreed in specific order, create words, and words convey meaning.

Today, information about the world around us is not only contained in the words on paper, but increasingly in fast and powerful images and sounds. Although mediated messages appear obvious and clear, they use a complex audio-visual language that has its own rules - media grammar. Therefore, we need to be skilled at “reading” and “writing” language of images and sounds, just as we are taught to read and write the language of printed communications. With this task the concept of media literacy was developed, particularly the component of visual literacy.

After centuries of education based on learning facts and knowledge which students proved in exams, such a system is no longer relevant, since all the data is now available in an instant, one-touch away. Today, students need to learn how to find what they need at a given time. When they need to acquire higher level thinking skills, in order to analyse and assess whether the information that they found is useful – that means to develop critical thinking about media content.

So, learning as well as the entire educational process must be distinguished from “saving knowledge in a bank.” It is no longer necessary to insist on “the storage of information in the minds of students.” The teachers should not only be “wise men from the podium,” but instead they should be guides that promote and encourage students, their mentors who help. Is a new approach in the educational process!

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But where are in all this high school dormitories which are an integral part of the secondary school education system? Looking at annual plans and programs of high school dormitories, as well as annual plans for teachers as holders of the educational process, I dare say that we are somewhere at the start or one step away. On the other hand, a small representation of the Implementation of International Media in student dormitories is ever present. All these examples of good practice can best be seen at festivals homes - Domijadam. In particular, it can be seen through the dorm sheets and videos in various formats and genres. Also, it is known that some high school dormitories successfully present their work and even win at festivals such as the Youth Film Festival and other festivals for youth filmmaking.

I would certainly point out high school dormitories from Bjelovar, Varaždin and

Dubrovnik. Therefore the question arises - if the annual plans and programs in terms of media education are almost entirely misfit and uninventive, how do you come up with successful creation of the above works? The answer is very simple thanks to individual mentors, educators - media educators whose work is based on enthusiasm, personal involvement and interest in media education.

Almost identical situation arises as the unofficial conclusion of the Media Education seminar held at the 52nd Children’s Film Festival in Varaždin, Ludbreg and Čakovec, and not just when it comes to Croatia but also beyond the region. In order for the mentioned situation to change, or to speed up that change at least slightly, I was personally engaged to try to implement fresh novelties in the annual plans and programs of high school dormitories with the help of the Agency for Education. Let us look at the opinion regarding the implementation of such content.

The principal determinant from which I want to start is a competent supervisor or a person who would implement media education in high school dormitories.

These mentors must possess pedagogical and media competence. And if we know that being competent means not only to know facts but also to know how to apply that knowledge, i.e. have knowledge and skills, we can say that the concept of media competence includes a blend of technical (the ability to access the media), critical (understanding of media content, the ability of their interpretation and critical weighting) and practical (the ability to create media messages) competencies.

Such media mentors should: • Along with a college education, attend specialized workshops, possibly a study to obtain additional education, regularly monitor new information via the Internet, literature, and what I think is most important, to keep track of everything that interests youth, what they participate in, what fills their lives.

• The next task which is immensely important is the fact that children and young people need a lot of talking about what they saw, were they impressed and why, how they rate the things they’d seen and read.

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• Each educator and teacher should try media practice, try to write an article with the kids, or some news, capture photos, video reports, play computer games with the kids, communicate on social networks and the like. Only then will the teacher be accepted as “equal” in media issues, but also as someone who knows more about the media than they do, and can therefore lead them throughout the world, indicate what is it good and what is bad.

• In determining what is good and what is bad, one cannot use prohibitions.

Message for any media content should be: Do not look! but the message: Look carefully, but think critically!

The greatest art of all mentors is also to find a balance between everyday life and the media, and nowadays we can add to it balance between reality and virtual (alternate) reality. Every educator and teacher that has to find his/her own methods and approaches, and this is extremely important in the modern concept of media culture.

The four core areas of educational work in high school dormitories are: 1) Preservation and promotion of health If we take as an example just one of the goals of the area that says raise the level of physical education of students, and only one of the required outcomes that says distinguish healthy from unhealthy diet, I believe that we should not emphasize the role the media have to all of the above. Therefore, media education in this area is necessary!

2) The socio-emotional development of students If we take as an example just one goal, i.e. to adopt the techniques of assertive communication, is it necessary to emphasize how new media are still in daily communication of young people?

3) The cognitive development of students In this area, among others talk about the implementation and organization of learning and mastering techniques of learning, and I think that it not necessary to streess today’s media influence when it comes to learning multitasking of different generations.

4) Creative Development students One of the outcomes of this area is to rediscover the pleasure of creation. From personal experience, I can say that I have not seen more satisfaction than that which appears on their faces when, through the work of film groups they finish their final piece of work - film.

In addition to these four main areas, educational work in a high school dormitory is carried out through the so-called elected programs arising from the desires and interests, and special programs arising from the needs of students. Through the above examples of good practice in individual high school dormitories media education has been introduced or is being introduced. Following all of the above, there is a hope and expectation it will to enable the systematic introduction of media education in high school dormitories as soon as possible in a way that media education is brought into correlation with all educational areas, all with extra education of teachers - mentors through programs such as Dr. Ante Peterlić School of Media Culture etc.

Miro Bronzić, Male High School Dormitory Dubrovnik, Dubrovnik

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CROATIA PARTNERSHIP FOR A POSSIBLY BETTER FUTURE /I WONDER – CONTEMPLATION FROM THE PROVINCE/

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I fully agree that “...media literacy should be part of the education system, which is not the case in Croatia, or in most European countries...” (52nd Film Festival, HFSD, HFS, 2014, p. 20), for which we received direct confirmation hearing lectures about the experience of media educators from Hungary, Serbia, Slovenia and Croatia.

The establishment of the “Youth Cinema Network” aims to empower young filmmaking (especially high school) over a wide area, and the experiences of my colleagues, media educators and leaders of film and video groups from the region, clearly show that we are on the right track; although in its very beginning, but still. It is significant that every single environment is faced with specific problems arising out of quite different to very similar and related, models of implementation of media literacy for youth through school and/or extracurricular systems. Given that in our education system, after only twelve (12!) planned lessons (according to the Croatian National Education Standard) of media culture in elementary schools, programs and subjects for high school do not have any planned lessons (except optional in ten secondary schools in Croatia, none of which in Slavonia(!), where mostly younger professors and film fans transmit their knowledge to interested youth, mostly voluntary and enthusiastically, the question is: where and how does our media ship go?!

I work in an elementary school and for several years I’ve run media group that brings forth one short film, mostly fiction, during the school year. The cycle of our film interaction lasts, at best, for four years, and then my filmmakers go into high school, where their system simply does not offer similar content.

By repeatedly exchanging practical experience and problems with colleagues from other Croatian communities, I have come to certain conclusions which relate primarily to the conditions and opportunities in which we “perform” the timetable (plus one to two hours during extra-curricular activities) and which, therefore, does not exist systematically after elementary school education. Elementary school students should, the same as eighth graders during the enrolment into secondary school, “have the same conditions” during Croatian language classes, i.e. media culture. They should!

Here’s what the Croatian language teachers and trainers of film groups have been fighting for years in order to ensure better working conditions: 1. I wonder how engaged a school teacher is about the content of media culture and do they have the technical capabilities to display some of the CNES’s proposed films for students of classes 1 to 4.

2. I wonder how it would be if we could work in one shift and the classroom had a computer and a projector.

3. I wonder how it would be if we had a solid Internet connection, and thus the possibility of direct presentation of selected media content whenever necessary.

4. I wonder how it would be if we had at least one camera, tripod and an average program to install, and a couple of things that go with the above.

5. I wonder what would happen if we could continuously train in the Media School at similar seminars and workshops at least once a year.

6. I wonder how it would be to have expert help of at least one IT colleague.

7. I wonder how it would be to have a space for active interaction with fifteen young filmmakers, where we could edit and put our equipment.

8. I wonder when was the last time our librarians actually had opportunities to fill in our video library, audio and library fund, which we use so often.

9. I wonder whether young filmmakers from Slatina and those from Dubrava have the same opportunities to acquire knowledge and experience...

10. I wonder why Agency for Education and Croatian Film Association do not get along... Today I’m very sorry that the old ones couldn’t either. But that’s another story ... Or maybe it isn’t?!

There are many questions, but what I do know is this: from school to school, from city to city it is different, yet similar, and difficult, but sweet when you see the smiles on the faces of small filmmakers. And I know that in the end it comes down to enthusiasm, resourcefulness and creativity of leaders who, despite some of these problems that hinder and oppress them, feel much better if they have the support of the principal.

Unfortunately, as the crisis gets deeper, our principals are more powerless and confined and we less talk the same language as they do. And both parties are, in fact, powerless... Maybe schools in the near future will indeed be guided by managers who would primarily solve problems and seek to provide better and more similar requirements for all and in all environments where the same plans and programs were written and adopted... Or are we doomed to the old ones (slightly reshaped), and the eternal proverbs: I am my own project master! Trust yourself and the local development agency!

Notwithstanding all the difficulties, we continue to work, as is evidenced by this year’s 92 films shown at the 52nd Croatian Children’s Film Festival, in addition to screenings and interviews with the authors, the new seminar and workshop facilities provided an opportunity for young filmmakers and their mentors, as well as us, leaders-guests, to demonstrate and prove the necessity of better connectivity and collaborations through specific mutual interaction and exchange of experience.

It was very interesting to hear the experience from Gornji Milanovac, school teachers and agile employees of the local Cultural Centre. Slightly different methods and approaches have leaders of the Gombolyag Foundation from Budapest, as well as colleagues from Luksuz produkcija from Krško. But everyone, including, of course, the local media educators, have a common goal to help the development of knowledge, skills and abilities of young filmmakers who will, after having gotten the right opportunity, show their films at numerous European festivals, and, perhaps for the first time in Croatia, as this Festival has shown, be actively involved in judging films as members of the International Children’s Jury.

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Denis Ostrošić, Media group „Bapatuljak“, J. Kozarac Elementary School, Slatina

IMPRESSIONS

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Participating in the seminar program and hearing about the situation of media education in the region, I learned the following: 1. In Hungary there is no media culture in teaching, and there are foundations and clubs who work on children’s film outside of school.

2. In Serbia there is excellent cooperation between cultural centers and schools and by working together they achieve media and film projects, without integral film classes at school. Children can choose film as an extracurricular activity in clubs in several cities, and clubs are working to get as much out of the education of leaders and children.

3. In Slovenia there are no film classes at schools and clubs are involved in the training of teachers and work with children for one or more weeks of workshops, but outside of school.

4. In Croatia, children learn media culture in the framework of the Croatian language from the first to the eighth grade and they can engage in filmmaking within the school as an extracurricular activity, or in high school dormitories. Later on, as an optional subject, students can choose media and film culture in secondary schools. There is a range of photography, film and video clubs across Croatia which continuously work on filmmaking with children throughout the school year, there are a large number of film workshop programs for children during the school holidays, while a long tradition of film festivals for children shows that children in Croatia are very much into film. CNES prescribed topics of media culture, even enumerated film productions that children should watch, get aesthetic experience of them and evaluate them during primary school education, and the crown jewel of all, the National Curriculum Framework, as the basic document of education from preschool to the end of high school specifically says that media culture and the art of film are essential parts of education.

Oh, how nice! I’ve been working in the classroom as a professor of Croatian language in elementary school for fifteen years, and as head of the film group at my school for four years, something in me strongly protests against such a perfect picture of the situation in the media education of our children. For me, the situation is similar Myazaki’s castle on chicken legs, whereby in this metaphor I do not feel as a resident in the castle, but as a resident on one of the muscles in chicken’s wobbly leg.

1. It is true that in Croatia media culture is taught as part of the Croatian language from the first to the eighth grade. It is also true, however, that from 175 or 140 hours per year, media culture gets approximately 12. It is also true that prior to elementary school there is no prescribed content of media culture in kindergartens, although cartoons and TV have become best nannies in recent decades. In addition, media culture as a teaching area within the Croatian language ceases (and dies) with the completion of elementary school, because in high schools this area - does not exist. In the end, it’s hard not to recognize the following - if you must squeeze in courses due to lack of time for any reason, many of the teachers and many a professor of Croatian language “steal” lessons which should be dedicated to media culture. You know, you can somehow live without the knowledge of shooting angles, but without deep understanding of sibilarization an average student will suffer permanent damage.

2. It is true that students can engage in such extracurricular activities as filmmaking within the

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school and students’ homes. However, it is also true that their teachers’, leaders’ and educators’ work will not be recognized as teaching, often they will be able to write only one hour a week in the schedule, and tools and equipment with which they should work will be obsolete, funny amateur, home-made, broken, outdated, inadequate, or non-existent. I once even heard a piece of advice: shoot with cell phones... At the study of Croatistics film art and teaching methods is no longer a subject. School of media culture does a lot of media culture education for leaders and teachers of film groups from all professions. What is sad is that such training of for teachers is not considered necessary as other training prescribed by the Agency for Education. These trainings are personal wishes of individuals, and our media and film culture boils down to just that - the work and efforts of enthusiasts and persistent individuals. But, as one colleague, head of the seminar said: Every passion burns out if it fed. Therefore, if only the passion of individuals holds film groups in our country together, it needs a lot of feeding with quality education programs, incentives to work and to equipping schools with quality equipment for practical work with students.

3. It is true that students can choose media or film culture as an optional subject in secondary schools. The number of high school which last school year taught students about film in any way did not surprise me. Eleven. In whole Croatia there are only 11 secondary schools working with children on film. If 30 students attended each such group, we come to a figure of 330 students - the lucky ones who were lucky enough that their teacher fosters personal passion for media culture, that really she (he) wants to stay at school longer period of time for free in order to discover the beauty of film with them. Other students? I do not know. They simply have not had any luck.

4. It is true that a whole range of photo, film and video clubs across Croatia continuously work on filmmaking with children throughout the school year, there are a large number of film workshop programs for children during the school holidays and the long tradition of film festivals for children shows that children in Croatia are largely engaged into film. Thank goodness. If it were not so, children’s film education would only occur in elementary school when there is time to process sibilarization, and in 11 secondary schools if professors do not go on maternity leave and get replaced by someone who doesn’t care much about film.

5. Finally, it is true that the National Curriculum Framework, as the basic document about education specifically says that media culture and film art are essential parts of education. I’ve chosen only a few: - focus on competencies in a number of art and media is important, including (...) and the visual arts.

- Optional teaching subjects can be, for example, (...) Media Culture...

- educational objectives - students will: understand different media languages ​​and successfully use them in learning and communication - Artistic-educational area of (...) Film and Media Culture and Art...

Students will: - monitor feature films and media activities and receive their messages - simply describe their own experience and content of films and media activities - use various film and media practices, resources, technologies and forms of expression in a special and directed way - distinguish the components of film language (frame, scene, sequence) and types of media activities - use a variety of methods and means of film and media expression to perform and design their own short film and media works - learn jobs and skills (directing, filming, editing, multimedia usage, etc..) which use procedures, resources, technologies and forms of media activities and cinematic expression...

And so on, and so on, from kindergarten to college, our children should in those twelve hours per year, with those 11 professors in high schools and some more of us enthusiasts in

elementary schools, become critical viewers of quality films, confident aesthetic and practical experts and filmmakers, future educated parents and good film audience. In short, the National Curriculum Framework is a well-built castle on two chicken legs. It has walls, windows, and roof, lots of happy people, has a target where it should arrive. The only thing not in the vision of the future of education is a good engine. For two chicken legs, even in the cartoon, as I recall, were not able to forever carry such a burden.

Anabela Crnković, Elementary School Zapruđe, Zagreb

In an empty cinema in Varaždin twenty of us are talking and sharing experiences about media education in Croatia, Serbia, Slovenia and Hungary. The conclusion is that in all countries the situation is quite similar; - Systematic plans, programs and support (financial, material or moral) in educational institutions are in most cases non-existent - Media education depends solely on the interests of each individual teacher - Implementation of media culture and enabling students to work with media is tied solely to the enthusiasm of teacher-leaders who want to share their love of film.

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It can be concluded that it is important to support and develop media literacy, to develop a critical attitude towards the offered content, learn to filter information, to enable and support creative expression and activity in the media and to empower children and young people to understand and use media.

By using the media as a means of communication, young people have the opportunity to make their “voices heard” and to achieve two-way communication with the world of adults, and not just be a statistical figure to be mentioned mainly when something is bad. It also enables children and young people to have professionally organized leisure time which is a significant protective factor in the positive development of children and young people and affects the overall positive social functioning.

By nurturing the concept of peer education, emphasis is placed on individual competences (possession of knowledge and skills) that peers transmit onto each other and thus contribute to the group, become proactive and create a new value (such as young educators Antonio and Ksenija who talked about the topic Kids as media educators).

Functioning of video groups within school and extracurricular activities in Croatia is significantly more productive than in other countries that participated in this seminar.

Some of the reasons why this is so: - In textbook for Croatian language there is a part related to media culture (unfortunately only for elementary schools) - Numerous primary and secondary school groups led by teachers - A long-standing system of education (sixteen years) at CFA’s School of Media Culture intended for teachers and leaders of film groups - 52-year-long tradition of organizing Croatian Children’s Film Festival and Youth Film Festival organized by CFA. The third day of the seminar program in the cinema was different. The cinema was filled (there was a lack of chairs) because the 52nd Croatian Children’s Film Festival began. The conclusion somehow imposed itself on me: - Despite sluggishness and lack of sensitivity of the system, if there was no enthusiasm of teachers and leaders mentioned at the beginning of this text, the cinema would have remained empty - Among children sit ex students, members of film groups, and now young leaders who are “infected” with the very same enthusiasm.

My conclusion is that the greatest journey begins with a first step. One needs to start, because you never know how far a change can go, and we are all participants of the Festival on this journey.

Katica Šarić, Elementary School Rudeš, Zagreb

The question whether culture is needed or not- was at this seminar a rhetorical one. No seminar participant would agree that such a subject is not needed in primary education of any school of the modern world.

Teachers have worked hard to prepare their presentations - but the range of subtopics was more than wide. It was an opportunity to hear a lot of data, and get a little less information on the basis of which someone can go into “action.” Primary school curricula, secondary schools, festivals, projects, and where are actual children with specific problems regarding media culture in everyday life?

Since I come as a representative of a cinema club which works with elementary school children outside the school, I felt a bit isolated – I don’t work at school and have limited access to them in my local environment, but I respond to every call school for extracurricular workshops and lectures in the field of animated film that teachers teach and record in their schedule for Croatian language. I’d love to hear how exactly can I influence the introduction of such a course in elementary or high school and can I do it at all?

I am proud of the fact which I heard at the seminar that out of few Croatian high schools that have “Film” as an optional subject, one is from my town. I also know that these young people learn about classical animation from our knowledge, based on our program and various examples, but we are still just a kind of external service for implementation of this kind of education, without any recognition. Fellow lecturers from Gornji Milanovac have a similar cooperation of Grammar School and Culture Centre and it was nice to see the ways in which they work together and publicly commend their cooperation.

As I work with children and animated film exclusively, I face some obstacles in my work, and I expected to hear more about direct work with children, especially in primary schools. We all encounter obstacles and crises - whether it’s about the motivation of children, failing to incite the imagination, being captured by media content that deprives us of the most important thing - originality in generating ideas for creative cinematic expression. One of the lecturers touched these themes describing her knowledge in working with children of a certain age, given the themes and techniques of making animated films.

As for the theme of primary school pupils as media educators – I say “no,” for the young “yes” – it all depends on the purpose of the final product and provided that the children and their film products are not a means of manipulation. Working with children is a responsible jobchildren are brought through this type of work and educators still need to have some experience in working with them and knowledge concerning their potential in relation to age. I won’t talk about natural talents. Whether it is longer education (usually it is unfortunately done in a very short period), it would be nice to monitor the creative development of the child through this process, in order to enable it to progress. I have never heard, even at this seminar, that it can be a kind of “torture” and a very frustrating job, but if the young educator feels ready for that kind of thing - I will keep my “fingers crossed” for him to succeed in his quest to educate others.

Jasminka Bijelić Ljubić, School of Animated Film, Čakovec MEDIA EDUCATION SEMINAR AND WORKSHOP

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Workshops for animated film for us have always been the best place to learn something, try new techniques, but also to meet new interesting people and on top of it all, to have a good time. So

when we had the chance to hold such a workshop ourselves, we could not resist the invitation.

From 24 to 28 September 2014 in Varaždin and Čakovac we managed to introduce the process of making animated films to several young people. The participants came from distant Turkey, Serbia and Varaždin. Our team of six and two of us as leaders has created a short animated film in which the participants of the workshop learned about the different techniques of animation. We used the classic animation and stop animation. We tried to find a topic that all the participants liked. When we found out that the majority preferred to draw animals, we decided to connect the animal characters in a slightly different way. Thus, each student chose an animal that represented the continent and we connected the continents in an animation globe. All the participants were very diligent and did not create any problems. They were all enthusiastically involved in every step. We hope that this experience will stay in their memory forever.

The result was beyond our expectations considering that this workshop was the first we led together, but also because half of the participants had never worked with animation. Although we were in a big rush with time, we have proved that with a lot of perseverance and hard work we can do everything on time (or at least a few minutes too late). The film was created in a workshop called Animal Kingdom, which was a proposal of one of the participants.

Iva Šobak and Morana Bunić, Creative Film studio VANIMA (students – leaders)

Since my arrival at the railway station in Varaždin it was ​​clear that this seminar would be successful. Being surrounded by artists and film freaks makes me feel good, and this in turn affects the creative process in me.

The center topic of this seminar is functioning of video groups within school and extracurricular activities, both here in Croatia and in the neighboring countries: Slovenia, Hungary and Serbia.

I see the point of the seminar through the prism of my own film group at my school. In other words, what makes this course valuable is the fact that lecturers and participants of the seminar see the values ​​they have created with their work in media culture as a reflection bouncing off each other.

It was interesting to hear how media culture is organized in the neighboring countries. The importance of the seminar is in creating friendships and exchanging experiences with colleagues who have similar interests. I liked the presentation of my colleague Miro from Dubrovnik the most because he presented successes and problems, and the actual application of media culture of secondary school population in the students’ dormitories. The Quiz and Facebook game were very interesting. The presentation was so motivating that I managed to implement three new I heard there with my students back home. Equally interesting was the presentation by colleague Ana from Zagreb who transmits film content to young people in the form of elective course in a secondary school. At the same time she was very passionate in her presentation, and we all recognized it, which I think is excellent.

What should definitely be changed until our next meeting is the very way of presentation. Our “presentation of content through a slide show” is worn out and obsolete way of transmitting information. Presentations should not be linear, but passionate and emotional. I do not mean that everyone must be “Cicero”, because our topics of media culture are always interesting and useful. I believe that the key to absorbing media and especially film content in elementary and secondary schools just is motivation. Therefore, it would perhaps be a good idea to prepare our next meeting(s), lectures and workshops about extrinsic and intrinsic motivation in young people.

Goran Šporčić, Stjepan Kefelja Elementary School, Kutina

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THE CULTURAL CENTRE OF GORNJI MILANOVAC FOURTH FILM WORKSHOP “SHORT FORM” CROATIAN FILM ASSOTIATION MEDIA EDUCATION SEMINAR AND WORKSHOP PUBLISHERS

THE CULTURAL CENTRE OF GORNJI MILANOVAC Trg kneza Mihaila 1, 32300 Gornji Milanovac, Serbia www.kcgm.org.rs CROATIAN FILM ASSOTIATION Tuškanac 1, 10000 Zagreb, Croatia www.hfs.hr FOR PUBLISHERS

Dragan Arsić Vera Robić Škarica EDITORS

Boban Stefanović Marija Ratković Vidaković TRANSLATION

Lidija Miletić (4, 6, 9, 20, 22, 23, 24, 25, 28, 30, 32, 35, 38, 40, 42, 45, 47) Katarina Ristanović (7, 34) PHOTOS

Branka Vučićević Vučković (pages: 29, 33) Adrian Zgaljić (pages: 11, 21, 27, 31, 37, 41, 43) Grammar school “Takovski ustanak” - archive (page: 17) Filmkultura - archive (pages: 13, 14, 15) GRAPHIC DESIGN

Boban Stefanović PRINTING

Codex print, Gornji Milanovac, Serbia COPIES

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Gornji Milanovac, Serbia Zagreb, Croatia 2014.