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Filmproduktion som et middel til aktiv aldring

03/11/2015
by Anne Hjelm Larsen
Sprog: DA
Document available also in: EN DE FR IT PL ES LT

/epale/da/file/knowthyself3edited2jpgKnow Thyself

Know Thyself

Jennifer Granville fra Leeds Beckett University deler sin inspirerende historie om sit engagement i det internationale CINAGE projekt. CINAGE tilbyder spændende, livslange læringsmuligheder for ældre og fremmer aktiv aldring ved at lære voksne en kritisk analysetilgang til europæisk film samt hvordan man bærer sig ad med at lave film. Læs om, hvordan Jennifer blev involveret i dette projekt, hvilke forhindringer hun skulle overvinde og, allervigtigst, hvad hun fik ud af denne oplevelse.

Kan du fortælle lidt om dig selv og det arbejde, du udfører?

Jeg arbejder som lektor på Northern Film School, der er en integreret del af fakultetet for film, musik og udøvende kunst på Leeds Beckett University. Et af de områder, jeg var interesseret i, var at udvikle en bredere deltagelse og livslang læring. Dette skyldtes, at vi engang havde et enkelt kursus på det her fakultet, der hed Foundation Degree, men for omkring fem-seks år siden holdt universitet op med at udbyde det.

Det var meget skuffende, fordi det gav elever af den mere utraditionelle skuffe alle tiders mulighed for at komme på universitetet og lære at lave film, og meget ofte havde det været adgangsbillet for en masse af vores studerende. De var i reglen ældre og mere erfarne, og det kursus havde en helt anderledes dynamik.  Jeg ville gerne finde frem til en måde, hvorpå vi kunne bruge den ekspertise, som vi fik ved at arbejde med den slags folk.

Hvordan kom du i gang med dit Grundtvigprojekt?

Jeg var til et møde, hvor de talte meget om Grundtvig og de forskellige muligheder, der kunne ligge i at være partner for folk og udvikle kurser for forskellige elever. Jeg skrev mit navn på en liste over folk, der var villige til at stå som partner, og den ledende partner på CINAGE-projektet kontaktede mig. Den ledende partner var en portugisisk organisation ved navn Aid Learn, som laver mange af den her type europæiske projekter. De var på udkig efter et universitet, der kunne tilbyde dem ekspertise såvel inden for forskning i sundhed som inden for filmproduktion. Leeds Beckett University var her ideelt, fordi vi både har et meget stort sundhedsvidenskabeligt fakultet og en filmskole.

Vi udarbejdede forslaget sammen med Portugal, Italien og Slovenien, og det blev først afvist, men vi gav ikke op, skrev det om og fik det godkendt. Jeg synes, at ideen var meget tiltrækkende. Efter hvad jeg ved, er der ikke noget andet projekt, der har haft en lignende tilgang til film.

Hvordan hjalp det at samarbejde med en anden organisation?

Samarbejde er altid godt – du kommer altid til at lære noget af at samarbejde. Du kommer altid frem til en lidt anderledes tilgang til tingene, når du har haft drøftelser med folk, der bringer helt andre erfaringer i spil. Hvad der er så skønt ved dette særlige projekt, er, at Aid Learn i Portugal havde masser af erfaringer med at levere den slags projekter – internationale projekter er ekstremt komplicerede. Hvad angår det filmiske udtryk, ønskede vi at gøre det virkelig europæisk, så det ikke bare var noget, vi lavede i Storbritannien.

Alderdom er ikke verdens undergang.

Det slovenske universitet for den tredje alder bidrog også med enorm stor sagkundskab inden for voksenpædagogik. En interessant ting, som vi opdagede, var, at det meste af den undervisning, vi kører, for det meste udmøntes i, at eleverne lærer selv at finde ud af det, hvilket sandsynligvis afviger ret så meget fra, hvordan undervisningskulturen ellers er i Østeuropa.

Selvom vi nu er klar til at præsentere CINAGE på uafhængig basis, var det til at begynde med alle tiders at få et europæisk perspektiv på det og inddrage disse anderledes erfaringer.

Hvordan ønsker du, projektet skal udbygges?

Vi håber at kunne udbyde kurset til ældre til næste år som et led i universitetets program for bredere deltagelse. I det øjemed har vi fået byrådet i Leeds ind som partner, og vi bruger deres netværk til at komme bredere ud i demografien.  Vi planlægger imidlertid også via KA1 under Erasmus+ at få lavet en ”sammenpresset” to ugers-version af kurset, beregnet til europæiske pædagoger.

/epale/da/file/trappedclappereditedjpgCINAGE Clapper

CINAGE Clapper

Hvordan plejede du kontakterne med dine projektpartnere?

Al vores planlægning og beslutningstagning skete i samarbejde ved gennemgribende drøftelser. Vi mødtes for det meste personligt. Vi havde et møde i Italien og Portugal, to i Slovenien, og vores afsluttende møde fandt sted i Storbritannien. Vi havde også et meget godt online-miljø ved navn Wiggio – et open source-software. Det var et udmærket forum til at dele og gemme dokumenter, sende beskeder og føre diskussioner. Det var også det forum, som den eksterne bedømmer tyede til for at finde vores dokumenter.

Hvem deltog i projektet? Er der nogen, der – for dig at se – stikker ud?

De folk, vi havde med i det her projekt, var i gennemsnit ret så veluddannede, motiverede og aktive, og de fremstod på samme måde. Men jeg mener faktisk, at det, som vi lærte af dette projekt, går på, hvordan vi kunne gribe det her projekt bedre an fremover.  Der blev knyttet utrolig stærke venskabsbånd i arbejdsgruppen, og de har holdt ved. Vi har allerede holdt en fest hos en af deltagerne, og der har været masser af plusser på den sociale konto for deltagerne.  Et par af deltagerne har også meldt sig som frivillige til at hjælpe mig med at udbrede resultaterne, hvilket bare er alle tiders for os.

En af de studerende, der stak ud, var Liz Cashden på 86. Hun skrev manuskript til og spillede med i Swimming Pool , ligesom hun instruerede Know Thyself, og hun var bare så fyldt med energi, noget så opsat på at samarbejde og intelligent – helt igennem et forbillede for alle.

 

Hvad kom der så ud af det?

Et af de håndgribelige resultater af dette projekt har været CINAGE-pakken og Vejledningen for Voksenundervisere, som vi er meget stolte af. Vi arrangerede også en afsluttende konference som led i det forslag, vi fik godkendt, og vi kørte en filmfestival, som vi planlægger at gøre til en årlig begivenhed. Vi fik ikke lov til at indhente sponsormidler til dette års festival, men næste år håber vi at få sponsorer, så vi kan gøre det til en langt mere bredspektret festival. Det bliver en festival, der tager udgangspunkt i livet som ældre i Storbritannien, men vi vil også køre den som et symposium, så målgruppen både er akademikere og filmskabere. Vores film og trailere ligger også ude på vores YouTube- kanal.

 

/epale/da/file/cinagewelcomepackjpgCINAGE Package

CINAGE Package

Det, vi gjorde i år, var, at vi arrangerede en forevisning af alle de 12 CINAGE-film og så kørte et konkurrenceprogram om eftermiddagen. Kriterierne for konkurrencen gik på, at filmene enten skulle omhandle alderdom eller aldring, at de skulle byde på en ældre skuespiller eller være lavet af en ældre filmskaber – det var også de tre kategorier. Vi fik tilsendt omkring 50 film, udvalgte 30 af dem til forevisning, og vi fandt tre pristagere.

Det var en utrolig gribende oplevelse.

Vi håber, at vi fremadrettet prøver at gøre den endnu større. Denne event blev støttet af byrådet i Leeds, og vi håber, at den næste gang kommer til at indgå i Leeds International Film Festival. De har allerede en filmfestival for yngre, så hvorfor ikke en filmfestival for ældre? Det ville faktisk være alle tiders, hvis vi kunne bruge EPALE som et middel til at skaffe vores projekt og kommende events omtale.

Hvad betød det for dig at blive involveret heri?

Jeg var involveret i at lave tre af filmene her i Storbritannien, og vi hjalp også med at lave underteksterne til de andre film, men da vi så dem alle 12 på den store skærm, blev vi da helt rørt. Det føltes virkelig som om, vi havde præsteret noget helt i særklasse. Jeg finder det også forbløffende, hvordan så mange forskellige aspekter ved det at blive ældre blev taget op på en så positiv måde. De var ikke på nogen måde gennemført dystre og grumme.

 Jeg er fyldt 61, og det, jeg fik ud af denne her oplevelse, var, at det ikke er verdens undergang at blive ældre; og du får også rigeligt med tid til at gøre ting, der giver personlig tilfredsstillelse og som du ellers ikke ville have haft tid til at gå op i. Som medarbejder på en filmskole er jeg i den grad vant til at samarbejde med folk fra forskellige lande og kulturer. Det, jeg lærte af mine projektpartnere, var en masse om, hvordan man kører et projekt, idet de alle tre havde et stort erfaringsgrundlag inden for det. Der er også meget, som jeg har lært af deltagerne – de er alle nogle ret så interessante individer.

 

En anden ting, der for mig bare var alle tiders, var aspektet ved at have med flere generationer at gøre. Da vi lavede filmene, lagde vi beslag på en masse af vores studerende som støttepersoner for de ældre elever. Begge grupper var i stand til at se, hvor kompetente og gode til deres arbejde de andre var, og hvor meget de havde at byde på.  Det var en utrolig vellykket del af projektet, som jeg ikke havde skænket en tanke før. Rigtig mange af mine studerende fortalte mig bagefter, at dette havde været et af de bedste projekter, de havde lavet i deres tid på filmskolen; de var helt vilde med det.  Her i Storbritannien havde vi at gøre med i alt ca. 30 ældre elever og ca. 50 yngre studerende. Vi havde en professional kameramand og en instruktør, der var med som støtte for de af de ældre studerende, der stod for instruktionen.

De to uger, som vi brugte på filmoptagelser, var aldeles spændende, og det at have set alle disse folk smelte sammen til ét filmhold er noget, jeg vil huske. Hvis jeg fik chancen, ville jeg absolut gerne gøre det igen.

Hvis du arbejder med voksne elever og du gerne vil dele din historie med EPALE, så kontakt os på news@epale-support.eu.

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  • Jolanta WOLAGIEWICZs billede

    Wspólne tworzenie filmu było jednym z głównych rezultatów projektu partnerskiego GRUNDTVIGA, realizowanego przez Akademię plus 50 (Białystok) z partnerami z Niemiec i Turcji (organizacje pracujące z seniorami).  Podczas połączeń skypowych oprócz "szlifowania" języka angielskiego (czasem z pomocą nauczyciela) międzynarodowe grypki wybrały temat filmu, z założeniem, że różnice kulturowe mogą być powodem nieporozumień.  Stopniowo też przygotowywały scenariusz, żeby na spotkaniach partnetów dopracować szczegóły i kręcić poszczególne sceny. Żeby wymyśleć terść trzeba było najpierw nawzajem poznać zwyczaje  i ustalić różnice kulturowe. Było to bardzo ciekawe doświadczenie dla wszystkich uczestników i kadry a efekt tych działań można zobaczyć tu http://plus50.org.pl/lost-and-found/

  • Jagoda Lipińskas billede

    Uważam, że to bardzo dobry pomysł na rozszerzanie idei long life learning. Uczenie i angażowanie seniorów do krytycznej refleksji nad oglądanymi filmami oraz mozliwość kręcenia swoich jest niezwykle owocne nie tylko dla ludzi starszych ale także dla młodszych pokoleń. Współpraca międzypokoleniowa to coś niesamowitego, daje wiele możliwości rozwoju nie tylko seniorom ale także ludziom młodym.

  • Elena Galifianakis billede

    Want to know more about arts and culture in adult education? EPALE is hosting Museums, Galleries and Culture Week on 15-19 February 2016 to bring together news, events, resources and discussions!

    Join us at https://ec.europa.eu/epale/node/18826 and on social media at #epale2016.

  • Elena Galifianakis billede

    Hello Dušana, Hello Teresa,

    After your latest posts, I was really intrigued about the existence of such interesting projects that use cinema as a means to educate. On a further search online for similar/related projects I also found these ones in case you were interested: (I am sure you are already aware of them but in any case just posting them here...)

    Cine-Train: Film-Making for Educators - http://cinetrainproject.com 

    CinEd: An educational program on European cinema for schools as well as training for instructors - http://www.institutfrancais.com/en/news/launch-cined-european-cinema-education-program

    Best,

    Elena

  • Elena Galifianakis billede

    Thank you Dusana,

    for all the addtional information provided. It seems that there is a lot of good work going on at the Slovenian Third Age University!

    Best,

    Elena

  • DUSANA FINDEISENs billede

    This is an interview with one of the members of  the Slovenian CINAGE focus group who is also a painter and has been teaching older people for tewnty years.

     

    Miran Erič is a painter, researcher  of  underwater cultural heritage, lecturer and  has been active at Slovenian Third Age University as a mentor of study circles of painting.  Within this university, and upon the initiative of his older students, he founded a group of  older learners-painters with an eloquent name The Turtles. He is a keen and innovative observer of active ageing, an expert of active ageing and a militant in this field. In his foreword to the monograph The Turtles, he keeps asking himself about the role of older adult education, education as an activity and a possibility for older people to progress and to be in a transformational contact with themselves and the world around them.

     

    D.F. What is active ageing is in your eyes?

     

    M.E. As I view it, it is about being able and being supported and being expected to take a transformational, a decisive role in society, communities  and in one’s individual life.

     

    D.F. You keep asking yourself why your students who over years have become  excellent and innovative painters, have exhibited their paintings in professional galleries, have acquired their own author style are still being looked down by professional circles and critics as if their creativity were less valuable than the creativity of  others, who are younger and  formally educated?

     

    M. E. I think it is all about the social construction of old age. I keep asking myself how can one be active in later life if society and culture are implicitly or overtly against one’s activity? Shouldn’t we better try to produce a strong and constant  impact on society, pushing it to change and  dismantle its stereotypes about old age?

     

    Today the visual culture has become the culture of majority

     

    D.F. You have accepted our invitation to take part in  the CINAGE  focus group. Why?

     

    M. E.  Ours is a visual society and  younger generations have been born into it. Today, at a very early age, one  starts amusing oneself producing films. One is not formally educated  to this end, of course not, but due to the fact that one has been in touch with hundreds or thousands of visual presentations, that one has been learning autonomously,  one can  tell the difference between what is  beautiful and what is not. What is more, the quantity if visual images younger people have been touch with has enabled them to develop  aesthetic criteria. This is not the case of older people who  quite often  are not that much included in this visual culture and society, or at least are less included than younger people.  Older adults have well developed cognitive abilities, therefore  they should be taught about  the visual images and their power of expression.

     

    D.F.  Will that  be enough?

     

    M. E. What I also like about the CINAGE project is that older learners will learn how to visually convey their understanding  of active ageing. They could even produce a publicity for active ageing. Now, we are all  confronted with new media, since they are at a reasonable price, and new technological possibilities. So, older people should first learn about them,  to see what they can do using  them.  And this will be the case in the CINAGE project. Therefore, I think that in our  focus group,  we should also have a  film maker, somebody who knows about how to use the film tools and technology and also for the course, there should be a film maker.

     

    D. F. How will the CINAGE project affect  the CINAGE course participants…?

     

    M. E. Well , we are all film viewers, literally all of us. Annually, we view at least from 5-10 featured films, but the participants in the CINAGE course will hopefully develop the understanding of both films and  active ageing.  This will be specific and  the course in itself will be for some of them an act of active ageing.

     

    By analogy with my students who learn how to paint  and acquire a certain ability to  look analytically  at paintings, I expect that the CINAGE course participants  will develop the understanding of  film  and of its power of expression. Study circles of painting enable their members to attribute a meaning to the paintings and the process of painting and the CINAGE course will enable the participants  to attribute a meaning to  film and cinema.

     

    Now, in  visual society  it is not enough to talk about active ageing. It is necessary to convey messages using films and other visual media. The course will enable the participants to live as film viewers or film makers like my students of painting are taught to live as  painters which is far more than holding a brush for an hour or two a day.

     

    D.F. What do you think the CINAGE course may offer to the participants?

     

    M.E.  I hope the course participants will  learn about the possibilities the new technology can offer them; the visualisation may offer them a possibility to penetrate their own psychic world and the world around them and  to better understand  beauty. They will learn about  film tools and  the contents and how they are related. The tools are important! If somebody is asked to paint he should know about the tools  needed, if somebody is asked to write, to take photos, again somebody should know how to handle the tools.

     

    D. F. What do you think about the film Good to go which you and the focus group screened when you met last Friday ?  

     

    M. W. Well, I think that we have started building together a new view of ageing. The script writer of the film Good to go is probably much younger than the featured main characters, therefore there are so  many stereotypes about old age in this film -but also active ageing competencies, of course. There is a mix of them.  For instance I can hardly believe that in reality older people are  as grumpy and grudgy as Ivan is.  In any case, I have not met anyone like Ivan so far.

     

    There is nothing like generally valid active ageing

     

    D. F. I was amazed at the dynamics of the focus group.

     

    M. E.  So was I.  I would appreciate, if we could screen more films together. What we say as a result of thinking together, could   lead to our  new understanding  of older people and their position in society. First and foremost , we should  stop thinking about active ageing in general. There is nothing like generally valid active ageing. It can be very different, depending not only on one’s social and cultural environment…  not so much on older people’s age, but mostly on their socio-economic condition, on their status, on the fact that they live alone or in partnership, are healthy or not, have children or not…work or not.  If I am a young retiree my active ageing would be different from someone’s who is not healthy… Well, I really appreciated our meeting and how the focus group is being composed and moderated.

     

    Dušana Findeisen

     

     

     

     

  • DUSANA FINDEISENs billede

    In university lifelong learning programmes (adult education ) this type of programme and projects could be used in social sciences, social work, andragogy and socio-cultural education, geragogy, developmental pyschology, filmakinng, sociology of everyday life, creative writing  etc. It could  also be used in relation to the topic of communication, emotions, stereotypes, prejudices, discrimination, older people's needs, the importance of public space in old age, active ageing public policies ( WHO OECD, European Commission)

    Elena, since you are interested about the univeristy setting, here are some  of our young facilitators impressions ( they are from the Academy of Arts, Film, Theatre and Television, University of Ljubljana.

    • Andrej Avanzo

    Looking back, now that we have accomplished the majority of our tasks, I am confident that this project has been/ and will remain in the future/ essentially a very nice experience for me. It was not about teaching how to produce films, but more about making three films together and at the same time about getting familiar with active ageing and filmmaking. As I view it, these films are valuable precisely because the process of producing them has been so special. In a way, they give currency to Zeit Geist, they are a crossing over and among generations. I am immensely happy to have been a part of everything. Thank you for the effort you put in it, and thank you for the perfect organisation.

    • Maja Križnik

    The CINAGE project has been a remarkably pleasant experience and above all, my very first experience with facilitating scenario writing. I was happy to be able to work with older people, older participants. Personally, I am very respectful of those who are more experienced than I am. We facilitators, we thought we should devise and deliver a kind of programme that would take into account their experience and would be teaching participants the basics of how to think film. I claim that it is of extreme importance to start making a film by a well elaborated scenario. At the beginning, I found it quite difficult to accomplish such a complex task of having our students write three scenarios in only two sessions! Due to our tremendously enthusiastic participants, we did it. Whatever the age of the participants, creative team work is a sensible and fragile task, and there were some frictions and tensions in our group which we managed to channel into sort of creative group dynamics. In the end, I was really profoundly satisfied with the overall process, with the fact that we did not have to face any major distractions. I do think we have done a wonderful job together. It has been very interesting to see the participants getting ever more able and qualified, reaching a high level of autonomy in shooting films. I felt most rewarded listening to them, when they were talking how they shared newly acquired knowledge with their family friends and by their being proud of their accomplishments.

    • Jerca Jerič

    I think, participating in the CINAGE project was a rather specific challenge, for I had not been working as a facilitator or lecturer before. I was most challenged by facilitating older people who were highly experienced. Due to their interest in participating in this enterprise would be quite different I thought. Yet, as we know, the overall producing a film is colourful, but we. Facilitators were confident that we would find a suitable function for each participant.

    The participants surprised me. I was surprised by their commitment and knowledge. Despite some of them had some experience with film making and felt close to cinema, there were many do did not have any relevant knowledge about film production. Those were my biggest challenge and I wanted them to be a part of the film crew. To take on a role or two, a function or more functions that are needed during the film shooting and in the preparation process. They found appropriate functions, and if they were not satisfied they could still exchange them in the next films. Each film supposed a different crew and each student could test his or her abilities in different functions

     

    Dušana Findeisen, Slovenian Third Age University

  • Kirsten Mülheimss billede

    Thank you for presenting this interesting project that seems to have had a valuable impact on everybody involved!

    You offer your approach to adult education in general which makes sense to me. At the same time, being involved in research about the expansion of university lifelong learning in Germany, I would like to learn more about the special contribution of the university-context to your project. You pointed out one important aspect: that is the cooperation of young and old students.

    I would be happy to get in touch, with whoever is interested to share ideas about this aspect. 

     

     

  • DUSANA FINDEISENs billede

    Reading this interview with Jennifer, I sense that I have  had the same feeling about the value of CINAGE as she has and I also agree with Nikolai about MEMORO and the feelings he had when the project in which they sincerely believed was rejected.

    As compared  with other projects we have been involved in,  CINAGE is a wonderful project that corresponds to the basic theses about education of older people. Older people's education is established for social reasons, for increasing social fairness. So, it has a social and also political role. It has to change one's attitude towards old age, it has to create intergenerational bonds, it has to be creative, participative and has to bring back older people into the public space ( Hannah Arendt) increase their visibility. CINAGE has been all of this and more. It has made us aware ( focus groups) that our, experts', idea about active ageing is also far from reality... as the one of policy makers and filmmakers.  We have to listen to older people, they have a lot to say about themselves. For instance the majority of the films we selected for screening ere made about older people 80+ and were  made by much younger film directors  and script writers. We found  out that we do not know  how 80+ feel and think, not even talk….

    CINAGE was a great opportunity for older people to talk about their age and themselves. It also brought a lot of optimism about old age to older and younger people and it included older people into our visual civilisation.

    As far as Slovenian Third Age University we learned a lot from partners since we all had. each of us a different, but outstanding expertise.

    "Riches de cet experience" as  the French would say, we prepared a new project which is also quite innovative to my knowledge: learning from social movements and collective actions in which older people participated, that was meant to be a learning opportunity also for younger generations born into the world of global capitalism and consumerism... a lesson on how to be together versus individualism... And it has been rejected.

    From experience we can say that if the project is also about European policies, if it ensures visibility of the project and reality of European Union, it has a greater chance to be accepted. But this is not always possible. Another frustrating thing is that no matter how good you are at carrying out a project, it does not influence your credibility when a next project is at stake.

    Thank you to other contributors for notifying valuable other projects.

     

     

  • Elena Galifianakis billede

    Hi Dusana,

    You are very welcome about the "other projects" info.

    Indeed there are so many projects around the European Union that do wonderful stuff and often communities, like this one here, help members with similar interests engage, find out more about what others are doing and thus build upon previous experiences so as to create new (and improved) projects and disseminate best practices to those who need it the most.