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    Plan détaillé Texte intégral Festinema Junior: a constantly expanding festival Measures implemented to ensure the festival’s success The limitations of such a program Notes de bas de page Auteur

    From Ciné-goûters to Screenings for Cinephilie

    Ce livre est recensé par

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    Table des matières

    Festinema Junior: Study and Analysis of a Film Education Program’s Success in the United States

    Marylin Marignan

    p. 189-198

    Texte intégral Festinema Junior: a constantly expanding festival Measures implemented to ensure the festival’s success The limitations of such a program Notes de bas de page Auteur

    Texte intégral

    1In the United States, French films account for less than 2% of ticket sales at local theaters.1 This percentage becomes even lower when considering French-language films.2 For Anne Kern, a film historian and professor at Purchase College, State University of New York, American spectators very rarely see French films screened at large-scale cinemas. The exception being big-budget productions aimed at the international market. Only arthouse cinemas in major cities screen such French films (in their original French or otherwise) for mainly francophone and cinephile audiences. She also notes that the majority of these theaters only project works by well-known filmmakers (such as Olivier Assayas, Claire Denis, François Ozon, Arnaud Despleschin, etc.).3 North America (and the United States in particular) is one of the leading markets for the export of French films,4 and French cinema and culture is promoted across the country by revitalizing audiences from generation to generation. However, such promotional activity remains to be a major issue for France. In this respect, the actions of French cultural organizations have been moving towards this sort of promotion for many years. Nevertheless, such projects are typically supported by only a limited number of organizational bodies. In 2014, the Alliances françaises of Puerto Rico and of New Orleans therefore implemented a joint project in which cinema could unite all Alliances françaises branches across the United States. Festinema Junior, a Francophone film festival aimed at young audiences, has grown exponentially since then.

    2The aim of this article is therefore to study and analyze the success of film education programs organized by the Alliances françaises in the United States. Consequently, it will be essential to consider the challenges that such a program faces when it comes to promoting, distributing and exporting French cinema abroad. The various tools put in place by the Alliances françaises in promoting French cinema and cinephilia in the context of the Festinema Junior festival will also be examined. Lastly, the limits of such an operation will be addressed.

    Festinema Junior: a constantly expanding festival


    Figure 1.

    Image

    3Since its creation in 2014 by the Alliances françaises of Puerto Rico and of New Orleans, Festinema Junior has grown steadily. In 2014, 1,231 students from 16 partner schools attended the 16 screenings put on by these two Alliances françaises branches. At the fifth edition of the festival in 2018, 153 screenings sponsored by 23 Alliances branches attracted a total of 10,194 students from 144 different schools.5

    Table 1: Development of the Festinema Junior festival from 2014 to 2018.

    Alliances françaisesPartnerships with schoolsStudents in partner schoolsScreenings
    20142161,23116
    20153351,74519
    20167633,97840
    201715998,10896
    20182314410,194153

    Source: Table made from data found in the 2019 Festinema Junior festival brochure, found on the festival website: https://static1.squarespace.com/static/5a01f0da90bade19ddc87ac8/t/5bcf68f17817f7c58589e794/1540319491762/AF_Festinema_2019_About_The_Festival_Web.pdf.

    4In 2019, for the sixth edition of the festival held every year in March and April, other Alliance françaises branches joined the program in celebration of Francophonie month. The festival indeed has considerable potential for expansion at the national level via a country-wide network of Alliances françaises (totaling 110 branches in 45 different states), as well as at the international level through the potential involvement of the Alliances network in the Caribbean (21), Canada (9) and Central America (10). For example, in 2019 the Alliance française of Jamaica joined the Festinema Junior program with its own contemporary Francophone film festival held each year in November. Thanks to its success, Festinema Junior is gradually expanding within the United States via the network of Alliances françaises.

    5This French-language film festival is aimed at young audiences between the ages of 4 and 18 years old. By projecting “youth” films, Festinema Junior’s primary objective is to promote French language and culture education in the United States. The festival therefore introduces students to films presented in their original language with added subtitles. Lesson plans are available in three different languages (French, English and Spanish) for teachers working on films that deal with French language and culture. These additional educational materials thus complement the festival’s activities in creating a real sense of momentum around the projection of a film. Another mission of the project is to revitalize audiences and develop a new generation of cinephiles through the promotion of French independent and classic cinema. In broader terms, the Alliances françaises seek to develop the youngest audiences’ understanding and tastes for cinema in general, and for French cinema in particular. Festinema Junior wants audiences to acquire a sense of a culture that is independent from the dominant one they experience. It encourages them to invest themselves in places other than those presented in mainstream films. Similarly, educational materials allow students to approach cinema from a new point of view. They learn about the history and aesthetics of cinema, practice film analysis and develop critical thinking skills. Finally, the program also aims to cut costs for the Alliances françaises by pooling the resources and tools of program participants. Since January 2018, an additional initiative set up in partnership with the Cultural Services of the New York and Washington French embassies has accompanied the program. The initiative consists of a “CinéSchool” website which provides access to films previously shown at the festival, as well as all educational materials provided by Festinema Junior since its creation in 2014.6

    6In addition to objectives specific to the festival, there are other issues surrounding the successful completion of this project. In order to carry out these missions, the Alliances françaises work closely with American schools. As a true film education program, Festinema Junior is not only for American public schools with French immersion programs. Its purpose is to reach and teach a large young, diverse and foreign audience. Through this program, the Alliances françaises aim to strengthen relationships with school communities so that they can locally continue the work begun at the festival by putting in place similar activities. For some Alliances françaises branches, creating close collaborations and partnerships with local cinemas and cultural centers is also a major challenge. Indeed, despite the fact that the network of French cultural institutions abroad possesses many cinemas, some Alliances françaises branches do not. In order to contribute towards the distribution and promotion of French cinema, these establishments must thus invest their resources in other organizational programs.

    7Within the context of Festinema Junior, the creation of local partnerships acts as an opportunity for these establishments to put into place year-round policies for the development of cinephilia and the promotion of French cinema. Various targeted measures can also attract different sorts of audiences. For example, the Alliance française of Denver, which joined the program in 2016 and has since then helped to coordinate it at the national and international level, works closely with the Denver cinematheque. The Sie FilmCenter, which shows more than 600 films per year and sometimes exclusively in their original language and format, hosts the festival on its own premises. In 2018, more than 30 screenings were scheduled, and other initiatives were also being developed. This included an initiative to introduce young people to moving-image practices. The same year, a competition was organized in connection with the festival. At its end, five young filmmakers were awarded a scholarship to attend a practical training workshop over the course of two weeks at the Sie FilmCenter. During the sixth edition of the festival in 2019, the Alliance française screened short French-language films made by students before each showing.7 In this respect, in addition to the promotion of cinemas belonging to the Alliances françaises network, these lasting local partnerships fully contribute to the international presence of the French film industry. Finally, one of the aims of such events is to increase the visibility of the Alliances françaises network at the local and national level.

    8In order to implement this program, the Alliances françaises took inspiration from various film education programs in France (i.e., the “École au cinéma” program, “Collège au cinéma,” “Lycéens et apprentis au cinéma”8) and in other countries, such as Germany (the “Cinéfête” festival, for example).9 The Alliances françaises also drew upon experience they gained in carrying out various local events. Every year since the festival was launched, the Alliances françaises have received many testimonials from students and teachers thanking the organization for such events. After the 2017 edition, for example, several students and teachers discussed Philippe Lioret’s film Welcome (2009), starring French actor Vincent Lindon and young actor Firat Ayverdi. The film deals with immigration issues and follows the journey of an undocumented Kurdish migrant in the Calais region of France. This feature film was shown to teenagers between the ages of 16 and 18: “Merci l’Alliance française pour montrer ma classe de français le beau film Welcome – c’était une tragédie, mais c’est très important”; “Merci beaucoup pour le film Welcome – c’était une très bonne expérience pour nous ! C’était vraiment incroyable !”; “Merci beaucoup pour la chance de voir le film Welcome. C’est très triste et les acteurs ont été superbes.”10 If some students only reflected on the film in a very summary manner, other testimonials show that a portion of them were touched by the viewing experience:

    Nous voulons dire « Merci » ! Pour moi, le film a eu un message très important et maintenant je pense différemment au sujet de la vie des migrants. Nous pensons que la situation est très importante à comprendre et nous pensons que toutes les personnes aux États-Unis doivent voir ce film pour mieux comprendre ces idées. Merci de nous donner cette opportunité !11

    9Teachers also shared their enthusiasm and emphasized the importance of the discussions and reflections brought about by the screening of such independent films:

    Je tiens à vous adresser mes remerciements les plus chaleureux pour cette opportunité que vous nous avez offerte de voir un merveilleux film. Les élèves ont eu une très belle expérience et nous avons passé toute la journée d’aujourd’hui à continuer la discussion que vous avez commencée avec eux. La culture française les intéresse beaucoup et le film a été un parfait déclic qui leur a permis de comparer la France et les USA sur les thèmes de l’immigration, du racisme, de l’Union européenne, du Brexit et bien d’autres. J’espère, au-delà du Festinema, que nous aurons l’occasion de collaborer sur d’autres projets. Dans tous les cas, je continuerai à partager votre site internet avec les élèves, leurs parents et mes collègues. Merci encore pour l’invitation et le dossier pédagogique que vous avez bien voulu partager.12

    10Festinema Junior thus appears to have won over the majority of participating teachers and students. Several reasons seem to be behind its success and steady expansion since 2014.

    Measures implemented to ensure the festival’s success

    11Every year at the festival, four French or French-language films are shown at participating schools. Specific programming is put in place according to the students’ ages: for 4- to 6-year-olds (preschool), 7- to 12-year-olds (elementary), 13- to 15-year-olds (middle school) and 16- to 18-year-olds (high school). The level of the educational materials is also adapted to the age of the students. Over the course of several festivals learning can be advanced over time. Initially, children discover the magic of cinema (the darkened cinema hall, the emotions it brings, etc.). Then, teenagers gradually gain a real way of thinking about the film object (for example, they learn how to differentiate genres and cinematic styles). Finally, young adults understand the different issues being treated (appreciating that cinema conveys thought, being able to conduct detailed film analyses, etc.). To make the work of teachers easier, they are invited to attend meetings and training sessions organized by the Alliances françaises.13 Festinema Junior presents itself in these ways as a project unfolding in separate stages which accompany the child over the course of their schooling.

    12Educational materials are also a major asset to the program. They allow teachers to prepare students to watch the film, and they facilitate discussions after the screening. Each teaching workbook includes a general presentation (factsheet, synopsis, director, etc.). More complete workbooks also list the themes and issues addressed by the film, as well as suggestions for possible educational activities. According to the students’ linguistic profile, a teacher may choose to carry out a discussion in their native language or in French. For example, for the Paul Grimault and Jacques Prévert film The King and the Mockingbird (Le roi et l’Oiseau, 1980) shown at the 2018 edition of the festival to students from ages 7 to 12, the workbook allowed teachers to first study the movie’s poster through a game of “spot the difference.”14 Two nearly identical images were presented to children who had to find a certain number of intentional errors in the poster. After considering this image, the students could then reflect on the film’s title and story. This beginner’s activity allowed students to explore the film’s world and pay attention to its visual themes. Other additional activities were made available to teachers with the possibility of working on them before the screening. Group activities for after the projection were also proposed. For example, the teacher could ask students to put several images from the film in chronological order and tie them back to the narrative. This sort of work enables students to revisit the narrative and encourages deeper discussions on the film. Similarly, the teacher could also ask students to draw the end of the story or invent a new ending.15 Ultimately, these educational workbooks can continue the work begun by the Alliances françaises into the classroom. Even if the major event of the film education program remains to be the projection of a subtitled French-language film in a cinema, various complementary activities developed by French organizations help to increase the scope of the event.

    13Festinema Junior is consequently carried out in in three phases: preparatory work done before the screening, a school field trip to a projection site, and in-class film analysis after the screening. In order to build momentum and create a dynamic and unique screening event, the Alliances françaises host schools in the best possible conditions. Screenings are presented by Alliance employees or, in some cases, by guest speakers (directors, actors, film study teachers, etc.). After the projection, guest speakers often discuss the film and create a dialogue with the audience. The cinema plays a crucial role here in allowing students to leave a school environment. It thus becomes a meeting place, a place of exchange and sharing where students can freely think and express themselves. It is also an opportunity to introduce students to a different type of room than the one they usually inhabit (i.e., the classroom). For film critic Alain Bergala, who worked in the early 2000s to add the arts to the list of fundamental courses in France: “L’art ne doit pas être traité comme une discipline.”16 According to him, “l’art doit rentrer dans l’école en gardant une altérité, comme une rencontre qui secoue.”17 This is essentially the point of shaking things up in this cultural space, of changing these young spectators’ habits. Moreover, the cinema is above all else a place of discovery for children. As former Director of the Alhambra Cinema in Marseille and longtime coordinator of the French program “École et cinéma,” Jean-Pierre Daniel states:

    Nous attachons une importance extrême à cette découverte par les enfants des films dans une « vraie salle de cinéma ». Ce qui se construit dans l’obscurité peuplée de silhouettes des spectateurs et des sons de leurs réactions est unique. II s’agit d’un spectacle et d’émotions vécues dont le souvenir nous accompagne plus ou moins longtemps selon la force des films. Et l’on sait aujourd’hui l’importance de ces émotions dans la construction même de notre intelligence.18

    14Acting as the home of French cinephilia, the cinema becomes crucially important in the context of the Festinema Junior festival. To complement these projections, photo shoots, snacks and competitions may also be organized to make this encounter with Francophone cinema more entertaining. Similarly, small gift bags are sometimes given to participants.

    15The program is also free or at a very low cost to participating schools (not more than $2 per student). Since January 2018, Festinema Junior’s new, free “turnkey” offering, CinéSchool, has complemented and reinforced the festival’s missions. Every year, films and educational materials from previous festivals become available on the CinéSchool website. Partner schools can therefore work on other films made available through the program with their students over the course of the school year, as well as attend Festinema Junior’s major screening event at the cinema. All of these aspects thus contribute to the festival’s success. However, even if the festival is gradually growing due to the number of participants involved and the initiatives it puts forward, there are some limitations to be found.

    The limitations of such a program

    16In May 2014, an agreement promoting pedagogical tools for teaching cinema abroad was signed by Aurélie Filippetti, then Minister of Culture and Communications, and Fleur Pellerin, Secretary of State for Foreign Trade, the Promotion of Tourism and French Nationals Abroad. Within this framework, a film program made up of a catalog of works shown in French schools, as well as other related educational materials (developed with the aid of the CNC), were made available to the entire French diplomatic network and its partners. The Alliances françaises could freely use these educational materials and share them with partner schools. Similarly, the vast majority of available films could be shown with no additional cost to French institutions. The films are typically copyright-free. If this is not the case, negotiations may take place between the project managers and distributors in order to release the film at a lower cost. This is what happened in 2018 with the screening of Valérie Müller and Angelin Predjocaj’s 2016 film Polina for teenagers between the ages of 13 to 15 years old.19 These measures made it possible to screen the film at the festival at a reduced price. Moreover, this film screening in particular received funding from several partners.20 However, despite this financial assistance, the free admission policy of the festival is one of the program’s key issues. It can be a serious obstacle for certain organizations, especially smaller ones. For example, when it comes to renting out a cinema, it seems difficult for some Alliances françaises branches to envisage the possible expansion of the festival through an increased number of screenings and participating schools. Indeed, partnerships with projection spaces can be a problem. Some arthouse cinema directors may not be ready to host a free festival of many screenings over the course of several days. However, many directors (especially at arthouse cinemas) view film education as a major concern. Given the progressive decline in cinema attendance, it is imperative that cinemas rely on captive audiences of school children. In an attempt to confront this reality and in the absence of a better alternative, showings are organized every year on location at certain partner schools. The amount of human resources required by the program (i.e., promoting it at schools, seeking out partnerships, setting up informational meetings for teachers, presenting the films, developing discussions, etc.) can also discourage small and medium-sized institutions that are already engaged in other operations. Above all else, matters of human and financial resources therefore seem to limit the development of Festinema Junior in the long term. Finally, every year project managers must be able to select the films that will bring in the biggest audiences.

    Table 2: List of films featured at the Festinema Junior festival from 2014 to 2019 according to age group.

    4–6 years old7–12 years old13–15 years old16–18 years old
    2014The Painting (Le Tableau)
    J.-F. Laguionie (2011)
    Tomboy
    C. Sciamma (2011)
    A Bottle in the Gaza Sea (Une Bouteille à la mer)
    T. Binisti (2012)
    2015A Cat in Paris (Une Vie de chat)
    A. Gagnol and J.-L. Felicioli (2011)
    Le Havre
    A. Kaurismäki (2011)
    Vandal
    H. Cisterne (2013)
    2016The Three Inventors (Les 3 inventeurs)
    M. Ocelot (1980)
    Charlie’s Christmas (L’enfant au grelot)
    J. R. Girerd (1998)
    Tales of the Night (Les Contes de la nuit)
    M. Ocelot (2011)
    Little Lion (Comme un lion)
    S. Collardet (2012)
    School of Babael (La Cour de Babel)
    J. Bertuccelli (2014)
    2017Snow and the Magic Trees (Neige et les arbres magiques)
    A. Lanciaux et S. Roze (2014)
    Ernest & Celestine (Ernest et Célestine)
    S. Aubier, V. Patar et B. Renner (2012)
    Adama
    S. Rouby (2013)
    Welcome
    P. Lioret (2009)
    2018Leon’s Animated Stories (Les 4 saisons de Léon).
    A. Lanciaux, P.-L. Granjon et P. Le Nôtre (2012)
    The King and the Mockingbird (Le Roi et l’Oiseau)
    P. Grimault et J. Prévert (1980)
    Polina (Polina, danser sa vie)
    V. Müller et A. Preljocaj (2016)
    Swagger
    O. Babinet (2016)
    2019On Leaving School (En sortant de l’école).
    M. Larrivé, C. Authouart (from J. Prévert, 2014)
    Minga and the Broken Spoon (Minga et la cuillère cassée).
    C. Edou (2017)
    The Big Day (Jour de fête)
    J. Tati (1949)
    Le Brio
    Y. Attal (2017)

    Source: Table made from data found in the 2019 Festinema Junior festival brochure, located on the festival website: https://static1.squarespace.com/static/5a01f0da90bade19ddc87ac8/t/5bcf68f17817f7c58589e794/1540319491762/AF_Festinema_2019_About_The_Festival_Web.pdf.

    17In selecting films to project at the festival, the Alliances françaises carefully examines the rating given to the film by the Motion Picture Association of America (MPAA).21 In the United States, it is crucial that a film meet the criteria set by the MPAA, particularly when the film is aimed at younger audiences.

    18Since 2014, Festinema Junior has continued to develop and expand the festival through various complementary activities that reiterate their success among students at partner schools. This success is inextricably linked to the work done upstream in building relationships and partnerships with local cinemas and cultural centers. Through this festival, the Alliances françaises seem to be trying to get young Americans to consider French cinema, and cinema in general as a cultural object to reflect upon. Therein lies the challenge for French culture: to make cinema and art in general, in France and elsewhere, a personally and socially constructed object.

    Notes de bas de page

    1 2017 CNC report, p. 243, https://www.cnc.fr/cinema/etudes-et-rapports/bilans/bilan-2017-du-cnc_559489, 11/10/2018.

    2 2016 and 2017 UniFrance reports on French films abroad, https://www.unifrance.org/actualites/15082/bilan-2016-des-films-francais-a-l-international, and https://www.unifrance.org/actualites/15143/unifrance-publie-les-resultats-des-films-francais-a-l-international-en-2017, 11/13/2018.

    3 Anne Kern, “Un cinéma français dont l’influence est plus diffuse,” Le Monde, May 23, 2013, https://www.lemonde.fr/idees/article/2013/05/23/un-cinema-francais-dont-l-influence-est-plus-diffuse-par-anne-kern_3416455_3232.html, 11/10/2018.

    4 2017 UniFrance report on French films abroad, op. cit., and 2017 CNC report, 223, op. cit.

    5 2019 Festinema Junior festival brochure, found on the festival website: https://static1.squarespace.com/static/5a01f0da90bade19ddc87ac8/t/5bcf68f17817f7c58589e794/1540319491762/AF_Festinema_2019_About_The_Festival_Web.pdf, 01/11/18.

    6 Idem.

    7 Thanks to Martin Laffite. One-hour telephone interview conducted on Monday, November 19, 2018 with Martin Laffite, Director of the Alliance française of Denver.

    8 Initiative titles in English: “Primary [elementary] schools and the cinema,” “Secondary [middle] schools and the cinema,” “High schools and the cinema.”

    9 Idem.

    10 From the 2018 Festinema Junior festival brochure and translated by myself: “Thank you, Alliance française, for showing my French class the beautiful film Welcome – it was a tragedy, but it is very important”; “Thank you so much for the film Welcome – it was a great experience for us! It was really incredible!”; “Thank you so much for the chance to see the film Welcome. It’s very sad and the actors were superb.”

    11 Idem. Translated by myself: “We want to say, ‘Thank you!’ To me, the film had a very important message and I now think differently about the lives of migrants. We believe that it is very important to understand the situation, and we feel that all people in the United States should see this film to better understand such ideas. Thank you for giving us this opportunity!”

    12 Id. Translated by myself: “I would like to express my warmest thanks to you for the opportunity you gave us to see a wonderful film. The students had a great time and we spent the whole day today continuing the discussion you started with them. They are very interested in French culture and the film made the idea of comparing France and the USA on themes of immigration, racism, the European Union, Brexit and many others click perfectly for them. I hope, beyond Festinema, that we will have the opportunity to collaborate on other projects. In any case, I will continue to share your website with the students, their parents and my colleagues. Thank you again for the invitation and the lesson plans that you have been kind enough to share.”

    13 Telephone interview with Martin Laffite, op. cit.

    14 Lesson plans on The King and the Mockingbird (Le roi et l’Oiseau, 1980) by Paul Grimault and Jacques Prévert. Education materials made by Azadée Tolooie, http://frenchculture.org/sites/default/files/roietoiseau_-_fr_final_compressed_1.pdf, 11/8/18.

    15 Idem.

    16 Interview conducted with Alain Bergala by Jacques Kermabon, “Apprendre à aimer le cinéma,” 24 images, n° 115, summer 2003, p. 14. Translated by myself: “Art should not be treated as a discipline.”

    17 Ibidem. Translated by myself: “Art must enter into the school with a sense of otherness, as an encounter which shakes things up.”

    18 Jean-Pierre Daniel, “Éloge du partenariat entre création cinématographique et enseignement,” Images documentaire, thème : Cinéma et école, 3rd and 4th quarter 2000, p. 18. Translated by myself: “We attach extreme importance to children’s discovery of films in a ‘real cinema.’ What this develops, in darkness populated with spectators’ silhouettes and the and sounds of their reactions, is unique. It is about spectacle and experienced emotions whose memory accompanies us for a longer or shorter period of time depending on the strength of the film. And today we know the importance of these emotions in building our sense of intelligence.”

    19 Telephone interview with Martin Laffite, op. cit.

    20 List of Festinema Junior 2019 partners: The Federation of Alliances Françaises USA, the Institut français, the Fondation Alliance Française, the Cultural Services of the French Embassy, Kids Trail, the FACE Foundation, TV5 Monde and La Bulle Designs. On the festival site: https://www.festinema-junior.org/, 11/13/18.

    21 Telephone interview with Martin Laffite, op. cit.

    Auteur

    • Marylin Marignan

      Université Lumière Lyon 2, Passages XX-XXI

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    Festinema Junior : étude et analyse du succès d’un programme d’éducation à l’image aux États-Unis

    Marylin Marignan

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    Festinema Junior : étude et analyse du succès d’un programme d’éducation à l’image aux États-Unis

    Marylin Marignan

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    1 2017 CNC report, p. 243, https://www.cnc.fr/cinema/etudes-et-rapports/bilans/bilan-2017-du-cnc_559489, 11/10/2018.

    2 2016 and 2017 UniFrance reports on French films abroad, https://www.unifrance.org/actualites/15082/bilan-2016-des-films-francais-a-l-international, and https://www.unifrance.org/actualites/15143/unifrance-publie-les-resultats-des-films-francais-a-l-international-en-2017, 11/13/2018.

    3 Anne Kern, “Un cinéma français dont l’influence est plus diffuse,” Le Monde, May 23, 2013, https://www.lemonde.fr/idees/article/2013/05/23/un-cinema-francais-dont-l-influence-est-plus-diffuse-par-anne-kern_3416455_3232.html, 11/10/2018.

    4 2017 UniFrance report on French films abroad, op. cit., and 2017 CNC report, 223, op. cit.

    5 2019 Festinema Junior festival brochure, found on the festival website: https://static1.squarespace.com/static/5a01f0da90bade19ddc87ac8/t/5bcf68f17817f7c58589e794/1540319491762/AF_Festinema_2019_About_The_Festival_Web.pdf, 01/11/18.

    6 Idem.

    7 Thanks to Martin Laffite. One-hour telephone interview conducted on Monday, November 19, 2018 with Martin Laffite, Director of the Alliance française of Denver.

    8 Initiative titles in English: “Primary [elementary] schools and the cinema,” “Secondary [middle] schools and the cinema,” “High schools and the cinema.”

    9 Idem.

    10 From the 2018 Festinema Junior festival brochure and translated by myself: “Thank you, Alliance française, for showing my French class the beautiful film Welcome – it was a tragedy, but it is very important”; “Thank you so much for the film Welcome – it was a great experience for us! It was really incredible!”; “Thank you so much for the chance to see the film Welcome. It’s very sad and the actors were superb.”

    11 Idem. Translated by myself: “We want to say, ‘Thank you!’ To me, the film had a very important message and I now think differently about the lives of migrants. We believe that it is very important to understand the situation, and we feel that all people in the United States should see this film to better understand such ideas. Thank you for giving us this opportunity!”

    12 Id. Translated by myself: “I would like to express my warmest thanks to you for the opportunity you gave us to see a wonderful film. The students had a great time and we spent the whole day today continuing the discussion you started with them. They are very interested in French culture and the film made the idea of comparing France and the USA on themes of immigration, racism, the European Union, Brexit and many others click perfectly for them. I hope, beyond Festinema, that we will have the opportunity to collaborate on other projects. In any case, I will continue to share your website with the students, their parents and my colleagues. Thank you again for the invitation and the lesson plans that you have been kind enough to share.”

    13 Telephone interview with Martin Laffite, op. cit.

    14 Lesson plans on The King and the Mockingbird (Le roi et l’Oiseau, 1980) by Paul Grimault and Jacques Prévert. Education materials made by Azadée Tolooie, http://frenchculture.org/sites/default/files/roietoiseau_-_fr_final_compressed_1.pdf, 11/8/18.

    15 Idem.

    16 Interview conducted with Alain Bergala by Jacques Kermabon, “Apprendre à aimer le cinéma,” 24 images, n° 115, summer 2003, p. 14. Translated by myself: “Art should not be treated as a discipline.”

    17 Ibidem. Translated by myself: “Art must enter into the school with a sense of otherness, as an encounter which shakes things up.”

    18 Jean-Pierre Daniel, “Éloge du partenariat entre création cinématographique et enseignement,” Images documentaire, thème : Cinéma et école, 3rd and 4th quarter 2000, p. 18. Translated by myself: “We attach extreme importance to children’s discovery of films in a ‘real cinema.’ What this develops, in darkness populated with spectators’ silhouettes and the and sounds of their reactions, is unique. It is about spectacle and experienced emotions whose memory accompanies us for a longer or shorter period of time depending on the strength of the film. And today we know the importance of these emotions in building our sense of intelligence.”

    19 Telephone interview with Martin Laffite, op. cit.

    20 List of Festinema Junior 2019 partners: The Federation of Alliances Françaises USA, the Institut français, the Fondation Alliance Française, the Cultural Services of the French Embassy, Kids Trail, the FACE Foundation, TV5 Monde and La Bulle Designs. On the festival site: https://www.festinema-junior.org/, 11/13/18.

    21 Telephone interview with Martin Laffite, op. cit.

    From Ciné-goûters to Screenings for Cinephilie

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    Marignan, M. (2022). Festinema Junior: Study and Analysis of a Film Education Program’s Success in the United States. In G. Pisano (éd.), From Ciné-goûters to Screenings for Cinephilie. Villeneuve d’Ascq: Presses universitaires du Septentrion. https://doi.org/10.4000/books.septentrion.147141
    Marignan, Marylin. « Festinema Junior: Study and Analysis of a Film Education Program’s Success in the United States ». In From Ciné-goûters to Screenings for Cinephilie, édité par Giusy Pisano. Villeneuve d’Ascq: Presses universitaires du Septentrion, 2022. doi:10.4000/books.septentrion.147141.
    Marignan, Marylin. « Festinema Junior: Study and Analysis of a Film Education Program’s Success in the United States ». From Ciné-goûters to Screenings for Cinephilie, édité par Giusy Pisano, Presses universitaires du Septentrion, 2022, https://doi.org/10.4000/books.septentrion.147141.

    Référence numérique du livre

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    Pisano, G. (éd.), Kornitsky, S. (Trad.). (2022). From Ciné-goûters to Screenings for Cinephilie. Villeneuve d’Ascq: Presses universitaires du Septentrion. https://doi.org/10.4000/books.septentrion.146921
    Pisano, Giusy, éd. From Ciné-goûters to Screenings for Cinephilie. Traduit par Sophia Kornitsky. Villeneuve d’Ascq: Presses universitaires du Septentrion, 2022. doi:10.4000/books.septentrion.146921.
    Pisano, Giusy, éditeur. From Ciné-goûters to Screenings for Cinephilie. Traduit par Sophia Kornitsky, Presses universitaires du Septentrion, 2022, https://doi.org/10.4000/books.septentrion.146921.
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