Abstract
This article explores how policymaking relates to young people’s ability to produce moving images in Norway by connecting the three domains authorities’ incentives and policy-making, youth production practices and availability of production resources and contexts. First, we give an overview of how policymakers have facilitated formal and nonformal contexts for moving image production. Second, we provide a bottom-up perspective, aiming at understanding youth production practices over time in and out of school. By combining a top-down, policy-oriented perspective with a bottom-up practice-oriented perspective, we illustrate how filmmaking as a distinct culture of digital production has been constituted and elaborated in an era of transition from analogue to digital technologies.
Highlights
Øystein GiljeThis article explores how policymaking relates to young people’s ability to produce moving images in Norway by connecting the three domains authorities’ incentives and policy-making, youth production practices and availability of production resources and contexts
Reviewing the process of filmmaking over the last three decades, it is striking how it has been democratized in terms of affordability and accessibility for amateurs in all age groups and with different purposes (Buckingham & Willett, 2009)
The development of the Amandus film festival is an indicator of how young people started to participate using the new technology available in non-formal contexts like media workshops
Summary
This article explores how policymaking relates to young people’s ability to produce moving images in Norway by connecting the three domains authorities’ incentives and policy-making, youth production practices and availability of production resources and contexts. We give an overview of how policymakers have facilitated formal and nonformal contexts for moving image production. We provide a bottom-up perspective, aiming at understanding youth production practices over time in and out of school. By combining a top-down, policy-oriented perspective with a bottom-up practice-oriented perspective, we illustrate how filmmaking as a distinct culture of digital production has been constituted and elaborated in an era of transition from analogue to digital technologies. Brit Svoen & Øystein Gilje | POLICY MAKING AND PRACTICES OF PRODUCTION ACROSS CONTEXTS OF LEARNING
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