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The Why and How of
Film Education
for Adults
Andrew J. Douglas, Ph.D.
Director of Education
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Located on the Main Line about 11 miles
west of Philadelphia
Bryn Mawr
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Housed in the 1926 Seville Theater
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Opened its doors in March 2005
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Its education program has evolved with it
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Film fan
Background in academia
Teaching experience
Skill set
Fit for the community
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Education about film, rather than through it
Considers film (motion pictures) as art
In the tradition of academic film studies
Goes beyond the “value-added”
Requires engagement
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Choose classes as you do your films
Constructively integrate your community
Expressly convey “cultural institution”
Offer a clear distinction from the national
chains and other mainstream theaters
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Contributes to the “Triple Bottom Line”
• Community Benefit
• Artistic Quality
• Financial Success
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The first-hand experience of its founder
Access to potential audience
Relatively low barrier to entry
Staff experience
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Standard film discussions
Film introductions from non-film experts
Partner events
“Name” speakers
Self-starters
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Varied class formats
Topics, approaches, boundaries
Scheduling
Faculty
Facilities
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Filmmakers
Regional/National Cinemas
Historical Eras
Genres
“Classic” Films
The Language of Film
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Akira Kurosawa: Tragedy and Brilliance
Chaplin: Post Modern Times
Cinema of Provocation: Michael Haneke
[Expletive Deleted]: David Mamet Films
Gleanings: The Films of Agnès Varda
Woody Allen: A Magical Misery Tour
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Bollywood’s Blockbusters
Buenos Aires: Cinema of Survival
French Cinema: Making Waves
Labyrinth of Passion: Spanish Cinema
Signs of Life: New German Cinema
Through the Lenses of the Middle East
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Conscientious Objectors:
Post-War Political Films
The Greatest Show on Earth:
The Blockbuster
Midnight Cowboys and Taxi Drivers:
New Hollywood
Thou Shalt Not: Pre-Code Hollywood
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Action Films as Art
Beyond Objectivity: The Contemporary Documentary
Look to the Skies: Superhero Cinema
Magnificent Obsession: The Melodrama
Stardust Memories: The American Musical
Vistas and Vengeance: The Western
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Back to the Future
Blue Velvet
Brief Encounter
The Exorcist
Gimme Shelter
A Hard Day’s Night
The Night of the
Hunter
Paths of Glory
The Princess Bride
This is Spinal Tap
Tokyo Story
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The Language of Film
• First class, now offered twice a year
• Basically the highlights of “Film 101”
Film History Discussion Series
• Less structured than other offerings
• Time periods, themes, genres
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1 person education department
5 adjunct instructors
15 courses
250 enrollments
$29,000 revenue
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100
200
300
400
500
600
700
800
900
1000
1100
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
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$10,000
$20,000
$30,000
$40,000
$50,000
$60,000
$70,000
$80,000
$90,000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
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1.5 person education department
10 adjunct instructors
31 courses, seminars, etc.
1031 enrollments (582 individuals)
$85,000+ revenue
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140 distinct classes
• 82 four-week courses
• 41 one-night seminars
• 17 film history discussion series
5100+ enrollments
$500,000+ revenue
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Facilities/Infrastructure
Staffing
Money
Finding/reaching your students
Quality control
Those similar to programming
Community-specific challenges
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Instructors that don’t work
Subject matter that doesn’t fly
Formats that don’t appeal
Misunderstanding students
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Instructors that work (big time)
Subject matter that soars
Formats that have massive appeal
Understanding students
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Community engagement
Promotion
Funding
• Revenue/Membership
• Grant/Donor Support
Bolsters film-as-art bona fides
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Know your community/patrons/students
Embrace and build upon your strengths
Coordinate with your programming
Be patient, and be willing to fail (a bit)
Have realistic expectations
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This matter is murky, and intentionally so.
CMSI: “Fair use is flexible. It is not
uncertain and it is not unreliable.”
There are a range of fair use exemptions
for non-profit educational purposes.
Each organization has to decide for itself
when/if they apply to its programs.
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Resources:
• Columbia University Copyright Advisory Office
Columbia University Fair Use Checklist
• Center for Media and Social Impact @ American
• Society for Cinema and Media Studies
• The Library of Congress
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The Why and How of
Film Education
for Adults
Andrew J. Douglas, Ph.D.
Director of Education