Abstract
This article engages in debate with Alain Bergala's The Cinema Hypothesis. It selects four topics for discussion. The article agrees with Bergala's arguments for the importance of (film) art in education as a productively subversive practice, and that engagement with film should be a creative process, in the viewing and interpretation of film as well as in film-making. It disputes Bergala's opposition to language-isms, arguing for the value of multimodal semiotics as a way for students to understand the structures of the moving image. It also disputes Bergala's efforts to insulate film from other media, arguing that, in a world of proliferating transmedia narrative, educators and students benefit from exploring representations and structures between and across media.
Highlights
This article engages in debate with Alain Bergala’s The Cinema Hypothesis
Alain Bergala’s treatise on film education, The Cinema Hypothesis (Bergala, 2016), engages with profound questions that have faced those of us involved in film education over the years, many of which continue to be pressing because they provoke debates both theoretical and practical, and because they inspire and enthuse film educators
The second context is the relationship between film education and media education, which is strong in the UK
Summary
This article engages in debate with Alain Bergala’s The Cinema Hypothesis. It selects four topics for discussion. The division between analysis and production has been a perennial plague of film and media education in the UK, at its worst producing a schism between mechanistic shot-type spotting and intuitive creative work that, whatever its merits, may lack an understanding of the formal properties of the moving image.
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