Explore SCENE's film content — from production and storytelling to pedagogy and creative process. A curated view of everything on SCENE through a film lens, drawing from across our Journal, Insight, and Resources strands.
In a world saturated with moving images, social media and AI, ISTA's Executive Director Michael Bindon makes the case for putting Film education firmly into young people’s hands.
Filmmakers Elliot and Zander Weaver share how learning by doing and embracing the limitations of independent filmmaking took them from childhood home movies to their first industry-financed feature film.
| By Tristan Tull (UK) |
As any film graduate will tell you, the leap from second year to the final-year project stretches the tendons. Students will enter their concluding year having worked on a number of productions and will be finding their feet as film-makers. What happens with the...
| By Keriann O'Rourke |
A new set of resources we’ve been developing to support how film students learn is now live.
Created in collaboration with Sharon Lacoste McDonagh, these two card decks are designed to transform how students engage with film production roles in the classroom.
🎬 Deck One:...
| By Mike Bindon |
One of the most persistent assumptions in international schools is that Group 6 in the IB Diploma Programme must be presented to students as an optional subject group.
In reality, it does not.
The IB framework allows schools significant flexibility in how the arts are positioned within...
| By Mike Bindon |
The year has begun with multiple international news stories about politicians, government officials, and public figures being “caught” using artificial intelligence.
I find that language fascinating.Not because AI use is surprising, it isn’t, but because of what the phrase “caught using” actually implies. It suggests...
| By Mike Bindon |
Across the world, the arts continue to transform lives, fostering creative expression, intercultural understanding, and a vital sense of belonging for young people. Yet in many international education contexts, including the International Baccalaureate’s Diploma Programme (DP), the arts remain on the periphery—optional, undervalued, and under...
I work as a film editor, primarily working in long form documentary film, but also working across other genres as well, such as fiction films and work for galleries. I try as much as possible to vary the types of projects I work on so that I am not typecast...
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