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Markus Otto
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Markus Otto made a comment
Reading all the comments, I realized more deeply the importance of the active part in film education.
It is the most important point to convince parents and other actors of early film education.
And I think, this point is clearly transferable to the work with older children. -
You can find KING MIDAS here:
https://ninateka.pl/film/krol-midas-lucjan-dembinski
Thank you very much, beautiful, and wonderful for children. -
Markus Otto made a comment
In any case, children come into contact with digital technology very early on, and the first encounter with moving images is probably no longer on TV but on mom or dad's cell phone.
That is why systematic film education is important for young children. This enables them to learn to use digital media confidently, without fear and, above all, actively.
And it... -
Markus Otto made a comment
Hidden/Shown is a incredible good exercise because it touches one of the fundamental aspects of film making and (story)-telling in general: all the choices that have to been made in film making, when setting up a camera, selecting a sound track, etc. This is why I think the Hidden/Shown cinema question is particular suitable for education purposes.
Thank you... -
Markus Otto made a comment
Great film, and also a very interesting and insightful description of the film making process.
The great thing about the back and forth method is that the two sides reinforce each other. I am sure that the students look at and analyze the excerpts so carefully because they have the aim of learning something for their practical work. This is a very great... -
Markus Otto made a comment
Thanks to all for the many links!!
For Germany:
I would summarize my point of view like this:
• Many options for film procurement including educational material
• different catalogs available
• contentious legal situation for the screening of films in schools
• Film education anchored very differently in the curriculum by federal state,
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Markus Otto made a comment
I just gave project course on a silent film (2 days). We watched some excerpts from “Metropolis”, “Nosferatu” and medium long feature by Lubitsch “Die Austernprinzesin” (60 min, very entertaining, well suited for the age 12-14) and discussed them. The next day the pupils produced short silent films in small groups. This combination of watching, a little...
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Markus Otto made a comment
Thank you for week 2! The tasks helped me a lot to create material for my lessons. And I didn't know it is so much fun working with short films.
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Merci aussi de ma part pour Komaneko!
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Markus Otto made a comment
The educational part of the website of the Danish Film Institute is amazing! II find it particularly important that many specific tasks for students are proposed. The teacher will have to adapt it for its class of cause, but it helps so much.
A structure for teaching material for LIFELINE:
Is it a film I want to teach with?
• A short description of... -
Markus Otto made a comment
Thank you everybody for your comments! They are very useful and helped me a lot.
As many others have mentioned I like it better to show films without introduction, if possible. This applies especially for short films. And it depends very much on the film and the group of students.
I also agree that a safe framework for presentation an constructive...
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Markus Otto made a comment
I‘m planing a course for a group of students age 12 to 14. The short films EDGE OF SEVENTEEN and LIFELINE will be the starting points.
- Start with tasks where the students record only image or only sound.
IMAGE exercises
- Create a photo story! Number of photos: minimum 3, maximum 5
- An exercise on the difference between working with a cell phone and... -
Markus Otto made a comment
I think the question cannot be answered with a clear from inside / from outside. But most of all, it doesn't matter. When someone sees a ghost, it is real for him. The voices should be treated similarly. When the girl hears the voices, for her the voices come from outside. Even if she would be aware that she is only imagining the voices, it is something...
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Markus Otto made a comment
Listening to the soundtrack without image works very well for LIFELINE.
1. I heard the background sounds (atmo) consciously, sometimes I didn't even notice it before when I saw the film.
2. There are sounds that are easy to identify without seeing the movie.
For others you only know what it is when you see the film.Students can understand that a...
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Markus Otto made a comment
What cinematic means are used in the Film LIFELINE?
What do they do?
Which are particularly important?
(interactive poster film language https://nwdl.eu/filmsprache/ , thanks you for the tip)For me, the important means are:
• editing (LIFELINE is a montage film)
• black and white (the photography here is very rich, nostalgic mood)
•... -
Markus Otto made a comment
For LIFELINE - Victor Erice
1. Retell the story of the film!
2. What is the film about? What is the theme of the film?WHO?
Who are the protagonists (people and animals) in the film and what do you know about them?The best way to create the list is to watch the film a second time, with breaks for discussions. How do you recognize who is who? The...
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Markus Otto made a comment
Great film, I really want to analyze it with my students.
The film is short enough to retell the 'plot' in 2 or 3 sentences, so I would begin with that. I think this could lead to a distinction between 'what happens' (story) and 'what are you feeling or thinking' (theme).
Focus on the girl:
Who is she, what do we know about her after the first... -
Markus Otto made a comment
The article is incredibly good.
The films that comes first to my mind are all long films, so I will have to look for good short movies.
- Kroko (Sylke Enders)
- Good bye Lenin (Wolfgang Becker) -
Markus Otto made a comment
A very interesting method!
I didn't like the movie to much, and the method helped me to start thinking and talking about the film. Thank you. -
Markus Otto made a comment
Wider cultural insight and creative learning/personal developpement
For Film is way to experience and understand the world so film education should look beyond the film context. -
Markus Otto made a comment
I agree.
'The true critic of a film is another film' wrote someone from the french new wave.
Nevertheless, educationenal aproaches than focuses on one aspect only remain also fertil, I think. -
Markus Otto replied to Markus Otto
:-)
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Markus Otto made a comment
For me, film is clearly an art-form, but I have the same reservation as Sonja Parg (02 APR) concerning the superlatives in the first quote.
I think it is important not to limit film education to film as a art-form. I agree with the second quote, and therefor film education should help to make this influence more transparent.
In the third quote, I like most... -
Markus Otto made a comment
The way they watch films is not very surprising, two films at the same time sounds interesting. I'm very happy with the answer on the last question. It only needs a week and they have a concept what film is or can be witch is close to mine. For me film is a instrument for exploring and understanding the world.
My own experience was very different in the...
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Markus Otto made a comment
Hello from Berlin. I'm a teacher for mathe and computer scienes , before becoming a teacher I worked for 20 years as camera assistant and cameraman. I want to share my experience with my students, looking here for ideas for film education in secondary schools.