Film Education has been an issue discussed in European countries for more years, and may be seen as a quite unique newcomer to the rather stabile canon of the European education. Today, it is largely agreed that film should be present at schools, because of its important place it has had in the last more than 120 years, as well as its omnipresence today. It is stressed that we are encircled by film as an art which, at the same time, hasn´t been reflected in the curriculum. Also, Film Education is largely put in context with the situation we live in, witnessing the ubiquitous spread of the audiovisual media, and their use by children. Film Education is also seen as a great opportunity to support the creative attitude in the curriculum. In general, the Film Education aims at promoting the "film literacy", and thus to help the pupils to be both more skilled as viewers and as creators.

It is still a great question, how exactly to implement the film in school education. The European countries greatly differ in those strategies, as it is outlined e.g. in the report carried out by British Film Institute Screening Literacy. Film can be a part of the native language classes, media education, art, a specific subject on this own, or be just present in schools on a voluntary basis. This situation is largely due to the complex character of the film art. At the same time, it is clear that the effort to connect the film education to an already existing, established subject leads to accentuating certain education content, and an unfavorable ommission of the others. E.g., if it is the mission of the Art Education to engage the film topics, it leads to the focus on the animated film, in Media Education, the communication aspect is strenghtened and the artistic one is withdrawn to the backround, in native language classes the narrative structures are naturally in the viewpoint, whereas the cinematography aspects tend to be weakened. Of course, those reductions must be seen negatively, because they decisively limit the character of film and its specific nature of a complex form of art.

The troubling shifting of the educational content related to film is tied to the issue of the lack of its knowledge. The discussion of Film Education has been strongly marked by the fact that it was started mainly by film theoreticians or filmmakers, thus with different stress being put on different areas. We are already in the situation that the initiative should be taken by the educators and study the issue from their perspectives. There has been a general agreement that the film classes should support children´s creativity, as well as their viewer´s experience in critical and analytical way. In the face of the educational process itself, these propositions must be seen as too vague, and it is necessary to clearly establish the educational content of the Film Education. It means to seriously consider the film art, and thus create a new coherent school subject, focusing on the film language and its specific parts (e.g. acting, scenography, cinematography ecc.), narrative and non-narrative structures, meaning making, cinema industry, and, the complex character of this art form.

This process is part of a broad didactic theme. It brings a new subject to the rather traditional school curriculum, and shows how not only educational goals, but also a well established educational content is important for its construction.

My study is based on multiple methods, covering study of the present literature, as well as research and my own teaching practise. I studied the present situation and main tendencies in film education in Europe, mainly focusing on the results of British film institute education activities summed in A Framework for Film Education and Screening Literacy, and a study written by the president of the French Centre National du Cinéma et de l’Image Animée (CNC) For a European Film Education Policy. Multiple possible approaches are more elaborated in the Italian anthology Filmagogia, one of the main figures in film education is without doubt the French theoretician and filmmaker Alain Bergala with his The Cinema Hypothesis. Teaching Cinema in the Classroom and Beyond. It is of course necessary to put these in the context of the classical works on didactics and education. I base these studies of mine mainly on the Czech context, books by Jarmila Skalková or Zdeněk Kalhous, but it still important to go back to the great scholar Comenius, also because of his stress on the visual in the didactics. I have been making a comparative study of the didactics of traditional subjects, which may help in the formation of film education didactics, mainly using those of Art Education (Hazuková, Roeselová) and Literary Education (Hník). As I stressed, it is necessery to focus on the film art itself, so for constructing a meaningful didactic of the Fil m Education, I have been carefully studying the film literature (eg. Bordwell, Utterson ed., but also works on filmmaking, many published by Czech film school FAMU). I completed my own qualitative research on film teaching. It consisted in questionnaires and structered interviews with Czech teachers of film, who work at different levels and types of school institutions. In this school year, I have been teaching Film Education in an elementary school verifying outcomes of my up to now findings, and also using this experience for further analyse.

The Film Education is a new school subject greatly discussed by many theoreticians over years, but its appearance in real classes across Europe is still quite scarce. There is already a general agreement of what should be the outcomes of the subject. To be able to shift the Film Education from its theoretical basis, we have to clearly outline the educational content of the subject. Educational experts in the field should focus their study on the film art itself, what it consists of, and how can these specific parts be beneficial to the educational process. It means to analyse the film language, the (non-) narrative structures and their meanings, socio-economic aspects of the cinema industry from the didactical perspective. The considerations how to implement film to schools and meaningfully teach it, i.e. construction of this new subject, may revive some of the old didactic questions of the relation between educational goals, content and methods.

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