The Film Education Journal is the world’s only publication committed to exploring how teachers and other educators work with film, and to involving other participants – policymakers, academics, researchers, cultural agencies and film-makers themselves – in that conversation. It is a bi-annual, open-access, peer-reviewed journal sponsored by the UCL Institute of Education in partnership with the British Film Institute, the Centre for the Moving Image, Creative Scotland and Transgressive North.

Issue 1.2, Nov 2018

This second issue of the journal presents a series of perspectives on film education from Finland, Germany, South Africa, Spain, England and Scotland, investigating the connections between film education and cognitivism, archaeology, theories of ageing and experimental cinema. There is also the welcome introduction of a political note, through approaches exploring the implications for film education of feminist and intersectional theory, and the role film education might play in community activism.


Jamie CHAMBERS, Mark REID & Andrew BURN ­- Editorial

Volker PANTENBURG & Stefanie SCHLÜTER – Teaching experimental film: On the practical and analytic treatment of avant-garde cinema

Steve CONNOLLY – What do film teachers need to know about cognitivism? Revisiting the work of David Bordwell and other cognitivists

Núria AIDELMAN & Laia COLELL – Transmitting cinema: Some proposals for our time

Lena ECKERT & Silke MARTIN – Film education and age(ing): A case study of a university course on FilmBildung

Jan NÅLS – Documentary subjects speak out: Relational empathy and ethics in intercultural documentary film education

David ARCHIBALD (ed.), Stephen T. DRISCOLL, Catherine DOHERTY & Mia PERRY – Dossier on Govan Young: Exploring children’s historical consciousness through film and archaeology


Aims and scope

Film is a distinct medium with a distinct history and, as such, requires a distinct pedagogy. The Film Education Journal is the world’s only publication committed to exploring how teachers and other educators work with film, and to involving other participants – policymakers, academics, researchers, cultural agencies and film-makers themselves – in that conversation.

We distinguish film from wider media. In consequence, pedagogical approaches inherited from other subjects, such as the textual study of literature, are not always appropriate for analysing film. In many parts of the world, the study of film is not yet recognized as a discrete subject and has not become a fully integrated part of the curriculum. The Film Education Journal aims to lead and shape the developing conversation about the place of film education in diverse educational contexts.

We have identified four groups routinely involved in the practice of film education: theorists, educators, film practitioners and policymakers, each coming from a different background yet sharing a common interest. The Film Education Journal exists to occupy the productive middle ground between these groups. We take particular inspiration in this respect from international film cultures that have developed a more holistic sense of how theory, practice, policy and pedagogy speak to each other, for example the post-war film culture in France. In bringing together the diverse voices engaged in film education within a single publication, the Film Education Journal will explicitly encourage a greater degree of exchange between theory, practice, policy and pedagogy.

The journal has two key aims:

  1. to further understandings of the diverse approaches to film education around the world by exploring how educators, practitioners and policymakers are responding to the questions of film education in different international contexts: in primary schools, secondary schools, universities and film schools, and in programmes of education taking place outside institutions such as community projects and clubs.
  1. to develop a critical discourse around these diverse approaches by considering how the work of relevant theorists casts light upon film education practice, and encouraging film practitioners and educators to reflect critically upon their practice.

The journal’s editors will pursue a number of strategies to foster a sense of dialogue between articles written by academics and those written by educators, film-makers and policymakers outside the academy. We are particularly interested in pairs of articles looking at an issue or area of film education from academic and non-academic perspectives.

The Film Education Journal is a bi-annual, open-access, peer-reviewed journal sponsored by the UCL Institute of Education, in partnership with the British Film Institute and the Centre for the Moving Image. This joint venture models the journal’s principle of interdisciplinary collaboration, also manifested through our editorial committee, which is comprised of academics, film educators, policymakers and practicing film-makers. The journal’s development has been enabled through funds from Creative Scotland. It is published by UCL IOE Press.

Call for papers

The Film Education Journal is the world’s only journal exploring approaches to film education that reflect film’s particular qualities as a medium. The journal is fully peer-reviewed and welcomes contributions from both within and outside the academy.

The journal is now inviting papers for a general issue, to be published in June 2019. Deadline for submission is 28 November 2018.

If you would like feedback about a piece you are considering writing or submitting to the Film Education Journal, please contact the general editor, Jamie Chambers (

Types of content we are looking for:  

  • Scholarly articles featuring research, analysis and theoretical consideration of film-education practices.
  • case study of a film that has been made during a programme of film education. This could be written by the teacher/workshop leader, perhaps incorporating testimony from participants.
  • case study or broader consideration of a particular film-education project, methodology or technology.
  • An interview with a classroom teacher about their experience of a film-education project or the experience of making a film with students.
  • national or regional survey of film-education approaches in a given part of the world or a historical survey of differing approaches through time.
  • broader reflection on the experience of a film-education practitioner: an experienced practitioner reflects upon their practical experience over a broad time period, and some of the themes emerging from it.
  • An evaluation of a film-education project from a perspective beyond the project.
  • An article by a policymaker advocating for a particular approach to film education in a particular sector.
  • We are particularly interested in pairs of articles looking at an issue or area of film education from academic and non-academic perspectives; essays in conversation with each other.
  • As a journal giving priority to international perspectives, we are interested in contributions looking at film education from anywhere in the world, and would particularly encourage contributions from those outside the UK.

Notes for authors

The Film Education Journal is an Open Access publication in which new contributions are made available under a Creative Commons Attribution (CC-BY) licence. This means that authors retain copyright in their own work, but make it available for others to share (copy or redistribute in any medium or format) or adapt for any purpose (even commercially), provided that the author/s of the original work is/are acknowledged. Authors also warrant that any work by third parties that they reproduce within their own work may be shared or adapted in the same way.

The Film Education Journal considers all manuscripts on condition that they have not been published already and are not under consideration for publication or in press elsewhere.

Contributions to the Film Education Journal must report original research and will be subjected to review by referees at the discretion of the editors.

Manuscripts to be considered for publication should be sent to the journal’s general editor, Jamie Chambers (

Authors should submit manuscripts electronically as email attachments using Word.

1. General guidelines

Manuscripts should be 6,000-7,000 words in length, excluding references, and must be written in clear, standard English, using British spelling (use the Oxford Concise Dictionary as an arbiter of preferred spellings). They should also be double-spaced throughout with ample margins, and bear the title of the contribution and name/s of the authors.

Each submission should include (in this order):

  • a title, chosen to succinctly reflect the content and using key words that are most likely to draw interested readers to the content through a search engine
  • author(s)’ name(s) and affiliation(s), and contact email for the author (or corresponding author if there is more than one)
  • an abstract of up to 150 words
  • the article text (including a note of where any figures and tables should be located)
  • acknowledgements (if any)
  • reference list
  • figures and tables (see guidance below).

Please do not use footnotes. Instead, include possible footnote content in the text, turn it into a reference or delete the material.

2. Style guidelines

For general style points and for references, please follow the UCL IOE Press Editorial style sheet.

Write clearly and concisely, using arguments that are fully substantiated with well-reasoned analysis and, where appropriate, empirical evidence. All acronyms for national agencies, examinations, etc., should be spelled out the first time they are mentioned. Contributors are asked to take account of the international readership of the Film Education Journal by explaining in full the use of terms that might be meaningful only to a particular local or national audience. Authors are also urged to bear in mind that teachers and film professionals will also read the Film Education Journal , which means that contributions should be accessible and comprehensible to a wide range of readers. For all manuscripts, non-discriminatory language is mandatory.

Citations of other work should be limited to those strictly necessary for the argument. Any quotations should be brief, and always accompanied by precise references.

If you have any questions about references or formatting your article, please contact the journal’s commissioning editor at UCL IOE Press, Pat Gordon-Smith.

3. Tables, illustrations, and figures; copyright

The Film Education Journal welcomes the inclusion of graphs, artwork, photographs, videos and sound files in support of submitted articles. They must be good quality and with full permission to publish in an open-access publication.

Authors are responsible for determining the copyright status of illustrations or other material they wish to reproduce in their article and, if necessary, obtaining permission to reproduce it. This applies both to direct reproduction and to ‘derivative reproduction’ (where authors create a new figure or table which derives substantially from a copyrighted source). As noted above, by including such material in their submission, authors warrant that it may be reproduced or adapted under the terms of the CC-BY licence in the same way as their own work, so they must make this requirement clear to those whose permission they are seeking. Please note that short extracts of copyright text (excluding poetry and song lyrics) for the purposes of criticism, discussion, or review may be reproduced without formal permission assuming that the quotation is reproduced accurately and full attribution is given.

Illustrations and figures should be included at the end in the article. Figures will not usually be redrawn by the publisher, so they should be submitted in a form that is suitable for publication (not less than 300 dpi resolution). The place at which a table, figure, or illustration is to be inserted in the text should be indicated clearly on the manuscript. Captions should include keys to symbols.

4. Open access and self-archiving

  1. The Film Education Journal is an open-access journal in which new contributions are made available under a Creative Commons Attribution (CC-BY) licence. This means that authors retain copyright in their own work, but make it available for others to distribute, remix, tweak and build upon their work, even commercially, as long as credit is given for the original creation. Authors also warrant that any work by third parties reproduced within their own work may be shared or adapted in the same way.
  2. UCL IOE Press makes no charges of any kind for submission to, publication in, or access to the Film Education Journal. Once published, your article will be online on the ingentaconnect journals platform, where it will be available for anyone to read or download without charge.
  3. Authors may self-archive both preprint and accepted versions of their article at any time provided that, on publication, it is replaced by the final published version.



Dr Jamie Chambers (General Editor)
Mark Reid, Head of UK Learning Programmes, BFI (Editor)
Prof Andrew Burn, UCL Institute of Education (Editor)

Editorial board

Nuria Aidelman, Director of Cinema En Curs, A Bao A Qu, Barcelona
Alejandro Bachmann, Head of Education, Austrian Film Museum
Alan Bernstein, former Head of Studies, London Film School
Dr Michelle Cannon, Institute of Education, UCL
Prof Virginia Heath, Sheffield Hallam University
Dr Bettina Henzler, University of Bremen
Prof Karen Lury, University of Glasgow
Prof Noe Mendelle, Scottish Documentary Institute, ECA, University of Edinburgh
Dr John Potter, UCL Institute of Education