Applying Alain Bergala’s ‘three-phase’ model to the history and development of film education in Slovenia

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Abstract

This article uses the three-phase model proposed by Alain Bergala to explain the history and development of film education in France as a sympathetic framework through which to illuminate a double history of film education, first in Yugoslavia, and more recently in Slovenia. Surveying both continuities and discontinuities, this article details some of the key institutions and personalities that have shaped the history of Slovenian film education, before exploring some of the contemporary challenges practitioners continue to face within an evolving film education sector.

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Towards an open cinema: Revisiting Alain Bergala's The Cinema Hypothesis within a global field of film education

Jamie Chambers (2018)

This paper reconsiders The Cinema Hypothesis and the propensity of Alain Bergala's cine-pedagogy to serve as an agent of interconnectivity within a slowly emergent global field of film education. Drawing upon some of the debates surrounding de-Westernizing film studies (Bâ and Higbee, 2012), this study explores notions of the global before situating a re-evaluation of The Cinema Hypothesis within that frame. Analysis focuses in particular on Bergala's: (1) particularized approach to cinema; (2) insistence upon a proximity between theory and practice; (3) asystematized approaches to analysis; (4) problematic relationship with canons; and (5) theory of disruption.

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Film education in Europe: National cultures or European identity?

Mark Reid (2018)

This paper considers the extent to which European countries have distinctive models and approaches to film education, and the extent to which a supranational model of European film education might exist in competition with those national models. It considers where film education is positioned in relation to other subject fields and disciplines (literacy and media literacy); the role of the European Commission in promoting both European and national approaches to film education; and the potential of transnational film education programmes to move between national and supranational film education cultures. It draws on data collected for Screening Literacy, a survey of film education funded by the European MEDIA programme that was carried out in 2012.