My talk at 2012 Udine Filmforum (Italy) titled "How to learn cinema?" about the italian new audiovisual curriculum introduced in 2010 upper secondary school reform. Its nature, its roots, its potentialities. Presentation of the national and european framework in which this new item is introduced.

1. FILM LITERACY IN ITALY AT
THE AGE OF INTERMEDIALITY
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

2. SECTION 1
European and national
framework

3. 2. National programme for the Promotion of Film and Audiovisual Language
1999
MIUR
DiCoSpe
Ex-IRRSAE Università Scuola Nazionale
Roma Tre Di Cinema
National programme for the Promotion of Film and Audiovisual Language
(Piano Nazionale per la Promozione della Didattica del
Linguaggio Cinematografico e Audiovisivo)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

4. 3. Cined@ys
2002
1500 200 24
European films cities countries
Netd@ys Europe
30.000 European schools
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

5. 4. Secondary Upper School Reform
2010
Fine Arts High School
(Liceo Artistico)
“Audiovisual and Multimedia”
(“Audiovisivo e Multimedia”)
Audiovisual and Multimedia Audiovisual and Multimedia
Literacy Laboratory
(Discipline Audiovisive e (Laboratorio Audiovisivo e
Multimediali) Multimediale)
III-IV: 6 hours/week (198 hours/year) III-IV: 6 hours/week (198 hours/year)
V: 6 hours/week (198 hours/year) V: 8 hours/week (264 hours/year)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

6. 5. “Film and Audiovisual Language”
«School educates the student of nowadays to those disciplinary fields
which would correspond to the operative field of the citizen of tomorrow,
except the one in which he is irrevocably thrown since the very beginning of
his life and more and more he will be: the universe of messages, communications
and audiovisual storytelling; the universe whose specific language is the real
indo-European of audiovisual media, the “Ursprache” from which every
sub-language of communication by moving sound images come,
from the tv language to the internet one»
(Lino Miccichè, 2000-2001)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

7. 6. “Digital Revolution”
«Nowadays children and young people are sons to a digital era in which
the use of technologies and audiovisual tools are embodied in everyday life,
built around a reassessment of the sources of information [...]
On the other side, the diffusion of audiovisual technologies in
mobile communications and its recent evolutions, and the immediacy of
the diffusion of smaller or greater audiovisual performances on the web,
has placed all of us, youth workers in front of a brand new horizon»
(Antonella Di Nocera in D’Avascio-Di Nocera, 2010: 12-13)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

8. 7. “EFA 2009”
«The discussions have led the participants to call onto the member state
of the European Union to include film, like literature,
in the school curricula and to teach students who live in a world
dominated by images, from primary school on, about the grammar
of the moving image just as they are taught the grammar of the written word»
(EFA)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

9. SECTION 2
Guidelines of the reformed
national audiovisual curriculum

10. 8. “a double skill: linguistic / synthetic approach”
Audiovisual and Multimedia Literacy Audiovisual and Multimedia Laboratory
(Discipline Audiovisive e (Laboratorio Audiovisivo e
Multimediali) Multimediale)
National Guidelines (Indicazioni Nazionali)
Particular Learning Goals (Obiettivi Specifici di Apprendimento)
Disciplinary Areas Declarations - Disciplinary fields
(Aree disciplinari, settori artistico-disciplinari,
declaratorie e campi disciplinari di competenza)
LINGUISTIC SYNTHETIC
-Humanistic (APPROACHES) - Scientific
-Theoretical -Practical
- Historical - Technical
- Aesthetic - Operational
_______________________________________
FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

11. 9. ”Audiovisual and Multimedia literacy course”: linguistic skills”
«practices related to the elaboration of an audiovisual product will be conducted,
pointing out the concept, expressive and communicative elements,
through the acquisition of knowledge about frame managing (plan, angles of shot),
time, movement, color, light»
(National Gudelines)
«whoever will teach Audiovisual Disciplines must be able to provide knowledge
about: basic elements of film and audiovisual language, knowledge about
the birth of photography and pioneer discoveries and pre-cinematographic
machines, knowledge in film analysis even in original version,
knowledge in the analysis of films from early cinema, silent cinema and avant-garde,
understanding about forms of film and Tv narration»
(extracts from Atto Ministeriale n° 2735 named
“Aree disciplinari, settori artistico-disciplinari, declaratorie e campi disciplinari di competenza”
(Disciplinary Areas, Declarations and disciplinary fields)
(http://attiministeriali.miur.it/UserFiles/2735.pdf)
In the “Letter by CUC member (Cinema University Council) Giacomo Manzoli to the President”
http://cineconsulta.files.wordpress.com/2011/07/riconoscimentolart06-lettera-al-presidente-cuc.pdf)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

12. 10. Plural identities of cinema in literacy practice: film and audiovisual
«Film as representative art form in modern age, in Twentieth Century;
film as generative matrix of other contemporary audiovisual forms;
film as performative, “liminal” genre; film as cultural practice playing
a role in building up the identity of further audiovisual media, even in
the remediation of its relationship with the Net
in its influences on spectatorship, performativity, interactivity;
film as scientific environment and, at the same time,
discipline with a widely open epistemological status».
(Angela Gregorini in Chiozzi, 2009: 56)
CINEMA
FILM AUDIOVISUAL
- Cultural Heritage - Practical actions
- History of cinema - Film and audiovisual
- Authorship Language
- Literacy methods
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

13. 11. “Film as heritage: cent films pour une culture alternative”
«les enfants et les jeunes d’aujourd’hui ont de moins en moins de chances
de rencontrer dans leur vie sociale normale d’autres films que ceux du “mainstream”
de la consommation courante. L’école (et les dispositifs qui lui sont liés)
est le dernier lieu ou cette rencontre peut encore avoir lieu.
Il est donc plus que jamais dans sa mission de faciliter l’accès
– de façon simple et permanente – à une collection d’oeuvres donnant une haute idée,
non démagogique, de ce qu’a pu produire de mieux le cinéma, et tout le cinéma»
nowadays children and young people have less possibilities to meet, in their ordinary
life, other films than the mainstream ones, those who consider them as consumers.
School, and the dispositifs linked to it, is the last place where this meeting can happen.
School finds out more than ever in front of the aim to ease, in a simple and definitive
way, the access to film heritage giving back a high, noble, non-demagogic conception
of what cinema, the cinema from all the ages and from the whole world,
has given to human society.
(Alain Bergala, 2006: 89-90)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

14. SECTION 3
Conclusions

15. 12. conclusions: CREATIVE EUROPE
2014-2020
CREATIVE EUROPE PROGRAMME
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

16. 13. conclusions: EUROPE FILM LITERACY SURVEY
2012
EU Film Literacy Tender Call
EAC/14/2011
EUROPE:
BFI, Department of Education
ITALY:
DiCoSpe – Roma Tre University
Departmental Board for Film and Audiovisual Literacy
in Upper Secondary School
FINAL REPORT – SEP-OCT 2012
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)

17. 14. conclusions: the incoming/outcoming teaching/learning chain
professional training and development chain:
from university to high school teaching
Film and Performing Arts Disciplinary Areas Declarations
Departments Disciplinary fields
(Aree disciplinari,
(Dipartimenti
settori artistico-disciplinari,
Comunicazione e Spettacolo e affini)
declaratorie e campi disciplinari
di competenza)
incoming audiovisual curriculum and balancing
Between secondary Upper School and High Formation
National Guidelines Film and Performing Arts
(Indicazioni Nazionali) Departments
Particular Learning Goals (Dipartimenti
(Obiettivi Specifici di Comunicazione e Spettacolo e affini)
Apprendimento)
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FILM LITERACY IN ITALY AT THE AGE OF INTERMEDIALITY
Udine, 2012, March, 20-22
Simone Moraldi (DiCoSpe - University of Roma Tre)