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Filmų kūrimas padeda aktyviam senėjimui

22/10/2015
by Jurgita MELAIKIENE
Kalba: LT
Document available also in: EN DE FR IT PL ES DA

/epale/lt/file/knowthyself3edited2jpgKnow Thyself

Know Thyself

Jennifer Granville iš Lidso Becketto universiteto pasidalijo savo įkvepiančia dalyvavimo tarptautiniame projekte „CINAGE“ patirtimi. Projektas „CINAGE“ suteikia puikių mokymosi visą gyvenimą galimybių vyresnio amžiaus žmonėms ir skatina aktyvų senėjimą, nes suaugusieji mokomi kritiškai vertinti Europos kiną, bei suteikia filmų kūrimo įgūdžių. Toliau papasakosime, kaip į šį projektą įsitraukė Jennifer, kokias kliūtis jai teko įveikti ir, svarbiausia, ko ji iš viso to išmoko.

 

Papasakokite šiek tiek apie save. Ką veikiate?

Dėstau Šiaurės šalių kino mokykloje (angl. Northern Film School), veikiančioje Lidso Becketto universiteto Kino, muzikos ir vaizduojamųjų menų mokykloje. Viena iš mane dominančių sričių buvo platesnis dalyvavimas ir mokymasis visą gyvenimą. Mūsų mokykloje buvo dėstomas vienas aukštesniojo išsilavinimo kursas, tačiau maždaug prieš penkerius ar šešerius metus universitetas nutraukė visų aukštesniojo išsilavinimo kursų dėstymą.

Mane tai labai nuliūdino, nes tai buvo puiki galimybė netradiciniams kursų klausytojams atvykti į universitetą ir mokytis filmų kūrimo ‒ kaip tik taip mus susirasdavo daug studentų. Paprastai tai būdavo vyresnio amžiaus asmenys, labiau patyrę, todėl kursas buvo itin dinamiškas. Norėjau rasti būdų tą darbo su tokiais asmenimis patirtį panaudoti.

Nuo ko pradėjote vykdyti projektą „Grundtvig“?

Vieną kartą dalyvavau susirinkime, kur buvo daug kalbama apie „Grundtvig“ ir apie įvairias galimybes bendradarbiauti su gyventojais ir parengti skirtingiems klausytojams skirtus mokymo kursus. Užsirašiau į sąrašą, nes norėjau bendradarbiauti, o pagrindinis projekto „CINAGE“ partneris su manimi susisiekė. Pagrindinis projekto partneris buvo Portugalijos organizacija „Aid Learn“, vykdanti daug tokių projektų visoje Europoje. Ši organizacija kaip tik ieškojo universiteto, galinčio pasidalyti su jais sveikatos mokslinių tyrimų patirtimi ir turinčio filmų kūrimo patirties. Lidso Becketto universitetas visiškai atitiko šiuos lūkesčius, nes čia veikia didžiulė sveikatos mokslų mokykla ir kino mokykla.

Paraišką parengėme kartu su Portugalija, Italija ir Slovėnija. Nors iš pradžių paraiška buvo atmesta, mes jos neatsisakėme, tiesiog ją perrašėme, kol ši buvo patvirtinta. Mano manymu, idėja buvo tikrai įdomi. Kiek žinau, niekas kitas nėra įgyvendinęs panašaus su kinu susijusio projekto.

Kuo buvo naudingas bendradarbiavimas su kita organizacija?

Bendradarbiauti visuomet verta, nes paprastai galima ko nors išmokti. Pasikalbėję su visiškai kitokios patirties turinčiais žmonėmis, į įvairius dalykus pradedate žiūrėti kitaip. Šis konkretus projektas yra nuostabus tuo, kad organizacija „Aid Learn“ Portugalijoje jau turėjo daug patirties, dirbdama su tokiais projektais: tarptautiniai projektai yra itin sudėtingi. Mūsų tikslas buvo sukurti visiškai europinį projektą, o ne tiesiog pasidalyti savo darbo Jungtinėje Karalystėje patirtimi.

Senatvė nėra baisi.

Be to, Slovėnijos Trečiojo amžiaus universitetas itin daug prisidėjo andragogikos srityje. Vienas iš įdomiausių mūsų atradimų – tai, kad mūsų mokykloje daugiausia dėsto patys besimokantys studentai, o tai greičiausiai skiriasi nuo dėstymo Rytų Europoje.

Nors dabar mes ir esame pasirengę įgyvendinti projektą „CINAGE“ savarankiškai, iš pradžių buvo puiku pažvelgti į jį iš Europos pusės ir papildyti jį skirtinga patirtimi.

/epale/lt/file/trappedclappereditedjpgCINAGE Clapper

CINAGE Clapper

Kaip jums pavyko palaikyti santykius su savo projekto partneriais?

Nuo pat pradžių planavome ir priėmėme sprendimus kartu intensyviai diskutuodami. Dažniausiai susitikdavome asmeniškai. Po vieną susitikimą surengėme Italijoje ir Portugalijoje, du Slovėnijoje, o galutinis susitikimas įvyko Jungtinėje Karalystėje. Taip pat galėjome naudotis atvirojo kodo programine įranga – puikia interneto aplinka „Wiggio“. Tai buvo puiki galimybė dalytis ir saugoti dokumentus, siųsti žinutes ir rengti diskusijas. Išorinis vertintojas šioje aplinkoje taip pat rasdavo mūsų dokumentus.

Kas dalyvavo šiame projekte? Kokį dalyvį galėtumėte išskirti?

Vidutinis projekto dalyvis buvo pakankamai gerai išsilavinęs, aktyvus ir tuo pasižymėjo jų dalyvavimas projekte. Iš tiesų manau, kad iš jų išmokome, kaip galėtume geriau vykdyti šį projektą ateityje. Dalyviai itin susidraugavo, sudarė tvirtą darbo grupę ir šių ryšių nepamiršo. Mes jau surengėme vieną vakarėlį pas vieną iš dalyvių, be to, dalyvavimas projekte buvo naudingas dalyvių socialiniam gyvenimui. Keli dalyviai taip pat pareiškė norą padėti man skleidžiant informaciją apie projekto rezultatus, ir mums tai pavyko.

Iš studentų galėčiau paminėti Lizą Cashden (86 metų). Ji parašė ir suvaidino filme „Swimming Pool“ ir režisavo filmą „Know Thyself“, buvo labai energinga, kupina noro bendradarbiauti ir protinga, todėl įkvėpė visus be išimties dalyvius.

Kokių rezultatų pavyko pasiekti?

Vienas iš konkrečių projekto tikslų – „CINAGE“ paketas ir Suaugusiųjų pedagogų vadovas. Jais labai didžiuojamės. Pagal savo patvirtintą pasiūlymą taip pat surengėme baigiamąją konferenciją ir kino festivalį, kurį norėtume paversti kasmečiu renginiu. Nors šiais metais negalėjome rinkti rėmėjų lėšų festivaliui, kitais metais tikimės paramos ir surengti gerokai didesnį festivalį. Festivalis bus pagrįstas senatvės tema Jungtinėje Karalystėje, tačiau taip pat planuojame surengti simpoziumą, nes mūsų tikslinės grupės apima mokslininkus ir filmų kūrėjus. Mūsų sukurtus filmus ir anonsus galite peržiūrėti mūsų „YouTube“ kanale.

/epale/lt/file/cinagewelcomepackjpgCINAGE Package

CINAGE Package

Šiais metais peržiūrėjome visus 12 „CINAGE“ sukurtų filmų, o po pietų surengėme konkursą. Pagal konkurso kriterijus filmai turėjo būti skirti amžiui arba senėjimui, juose turėjo vaidinti vyresnio amžiaus aktorius arba filmą turėjo sukurti vyresnio amžiaus filmo kūrėjas; tokios turėjo būti atitinkamos trys kategorijos. Sulaukėme apie 50 filmų, peržiūrėjome 30 iš jų ir atrinkome 3 laimėtojus.

Tai iš tiesų buvo nepaprasta patirtis.

Ateityje tikimės dar didesnio renginio. Šiais metais renginį rėmė Lidso miesto taryba, o kitais metais tikimės dalyvauti tarptautiniame Lidso kino festivalyje. Juk jau rengiamas jaunimo kino festivalis, tad kodėl nesurengus vyresnio amžiaus žmonėms skirto kino festivalio? Iš tiesų būtų puiku pasinaudoti „EPALE“, norint paviešinti mūsų projektą ir kitus planuojamus renginius.

Ką jums reiškė ši dalyvavimo projekte patirtis?

Dalyvavau kuriant tris filmus Jungtinėje Karalystėje, o mes kartu padėjome parengti kitų filmų subtitrus. Išvydę visus 12 filmų didžiajame ekrane, buvome labai sujaudinti. Tikrai manėme nuveikę kažką ypatingo. Taip pat džiugu, kad pavyko taip pozityviai atskleisti įvairius senėjimo aspektus. Juos pavyko parodyti visai ne iš niūriosios pusės.

Man 61 ir aš pasimokiau, kad senti nėra baisu; juk tuomet turite daug laiko daryti tai, kas jums patinka, tai, kam paprastai neturėtumėte laiko. Dirbu kino mokykloje, tad nuolat bendradarbiauju su žmonėmis iš skirtingų šalių ir kultūrų. Iš savo projekto partnerių daug išmokau, kaip vykdyti projektus, nes visi trys buvo labai patyrę šioje srityje. Be to, labai daug išmokau ir iš dalyvių, labai įdomių asmenybių.

 

Man taip pat labai patiko, kaip buvo įtraukti kelių kartų klausimai. Kurdami filmus, mes pasikvietėme daug savo studentų padėti mūsų vyresniems dalyviams. Abi grupės įsitikino, kaip kompetentingai ir gerai dirbo kita grupė, ir pamatė, ką jos pasiekė. Tai buvo itin sėkminga projekto dalis, kurią net buvau pamiršusi. Daug studentų vėliau man pasakojo, kad tai buvo vienas iš pačių geriausių projektų, kuriuose jiems teko dalyvauti jau po Kino mokyklos; tai jiems nepaprastai patiko. Jungtinėje Karalystėje dalyvavo apie 30 vyresnio amžiaus mokinių (iš viso buvo apie 50 mokinių). Turėjome profesionalų kinematografą ir režisierių ‒ jie padėjo vyriesiems mokiniams režisuoti.

Dvi savaitės filmavimo darbų buvo labai įdomios; niekada nepamiršiu čia susirinkusių ir išvien dirbusių žmonių. Jei tik galėčiau, tikrai tai pakartočiau.

Jei ir jūs mokote suaugusiuosius ir norėtumėte pasidalyti su „EPALE“ savo patirtimi, rašykite mums adresu: news@epale-support.eu

 

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Rodoma 1 - 10 iš 20
  • Jolanta WOLAGIEWICZ portretas

    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 Lipińska portretas

    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 Galifianaki portretas

    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 Galifianaki portretas

    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 Galifianaki portretas

    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 FINDEISEN portretas

    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 FINDEISEN portretas

    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 Mülheims portretas

    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 FINDEISEN portretas

    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 Galifianaki portretas

    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.