Contemporary 21st Century Learning
Australia's Kids Horror Film Festival is focused at shrinking the gap between the Premier's challenge and NAPLAN results. BLOODFEST is a way to help take the pressure off teachers for NAPLAN preparation by using the fun of filmmaking. BLOODFEST is also a perfect project for other cross curriculum learning requirements such as Creative Arts, Sciences, History and Geography and TAS, through the use of 'Multi Modal' Literacy. The film genre allows students the chance to deconstruct, infer, objectify, problem solve, critically think and evaluate. Students also learn as part of the film making process Logistics, Conflict | Resolution in teams, Creativity, Teamwork and Collaboration.
"Stories are the single most powerful tool in a leader's toolkit." Howard Gardner
Visual storytelling is a model that young people naturally gravitate towards. Reading, writing and language conventions take on a new complexity within a medium that youth audiences understand by simply being its audience.
The majority of our culture is already engaged with filmic media. Whether that be short form (youtube/webisodes/television) or long form (film), these all rely on the same structure; beginning, middle and end. Writing a screenplay challenges students in that it requires them to use persuasive skills in a new format.
The genre of Horror was chosen in consultation with young people from various schools and drama programs for its excitement and freeing the taboo.
"Raise the percentage of students in the top two bands." Gladys Berejiklian, Premier of NSW.
BLOODFEST utilises The Theory of Multiple Intelligences by Howard Gardner for students to create their work. Notably Visual Spatial, Bodily- kinesthetic, Interpersonal, Intrapersonal, Existential, Verbal Linguistic and including his newly proposed 'Teaching-pedagogical'.
"Stories are the single most powerful tool in a leader's toolkit." Howard Gardner
Visual storytelling is a model that young people naturally gravitate towards. Reading, writing and language conventions take on a new complexity within a medium that youth audiences understand by simply being its audience.
The majority of our culture is already engaged with filmic media. Whether that be short form (youtube/webisodes/television) or long form (film), these all rely on the same structure; beginning, middle and end. Writing a screenplay challenges students in that it requires them to use persuasive skills in a new format.
The genre of Horror was chosen in consultation with young people from various schools and drama programs for its excitement and freeing the taboo.
"Raise the percentage of students in the top two bands." Gladys Berejiklian, Premier of NSW.
BLOODFEST utilises The Theory of Multiple Intelligences by Howard Gardner for students to create their work. Notably Visual Spatial, Bodily- kinesthetic, Interpersonal, Intrapersonal, Existential, Verbal Linguistic and including his newly proposed 'Teaching-pedagogical'.
Video Collage by @imy_.26
Honourable Ben Franklin MLC Bloodfest Endorsement
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Ben Franklin is a Nationals Member of the NSW Legislative Council. He has been based on the NSW far north coast since his election to Parliament in 2015. His hobbies include bushwalking in our local national parks, playing squash and spending time with family and friends on the beach in summer.
Immediately prior to entering the NSW Parliament, Ben was the State Director of the NSW Nationals where he served the Party for seven years. Before this, he was the National Director of Communication and Advocacy for UNICEF Australia. Through his ongoing association with the north coast, Ben is passionate about working with residents and groups to achieve strong outcomes for the community. Ben is passionate about employment outcomes, energy sustainability and education equality in our regional towns. For Hon Ben Franklin MP Endorsement download PDF below. |
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Honourable Don Harwin MLC for Bloodfest
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"I commend Mr Fernandez and the Bloodfest Team for the work they do in fostering a love of film amongst children."
Don Harwin MLC Minister for the Arts Donald Thomas "Don" Harwin is an Australian politician, is the NSW Minister for Resources, The Minister for Energy and Utilities, the Minister for the Arts, and Vice-President of the Executive Council since January 2017 in the Berejiklian government. |
Your Adventure Begins
Project Based Learning for English, Maths, Science & more
Be Fearless and encourage curiosity now
Educators who use horror studies and criticism in their curricula do not have to limit themselves to giving a historiography of horror fiction, poetry and film, but can instead help their students observe and understand horror's functionality within a much broader cultural framework. Jeffery Jerome Cohen aptly notes in his seminal work Monster Theory: Reading Culture (1996) that monsters do cultural work. Helping students to understand monsters through this particular critical lens can incite in them the desire to the process of divorcing their minds and actions from oppressive ideologies and promote inclusivity. Few other disciplines have the ability, let alone capacity, for stimulating such a rich sense of communication between 'high' and 'low' culture. In the end, perhaps therein lies the real dilemma: that such a restrictive hierarchisation is not preserving intellectual history but rather impeding it.
Excerpt from Horror Literature through History: An Encyclopedia of the Stories that Speak to our deepest fears. Matt Cardin Editor
Educators who use horror studies and criticism in their curricula do not have to limit themselves to giving a historiography of horror fiction, poetry and film, but can instead help their students observe and understand horror's functionality within a much broader cultural framework. Jeffery Jerome Cohen aptly notes in his seminal work Monster Theory: Reading Culture (1996) that monsters do cultural work. Helping students to understand monsters through this particular critical lens can incite in them the desire to the process of divorcing their minds and actions from oppressive ideologies and promote inclusivity. Few other disciplines have the ability, let alone capacity, for stimulating such a rich sense of communication between 'high' and 'low' culture. In the end, perhaps therein lies the real dilemma: that such a restrictive hierarchisation is not preserving intellectual history but rather impeding it.
Excerpt from Horror Literature through History: An Encyclopedia of the Stories that Speak to our deepest fears. Matt Cardin Editor
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YOUR STUDENTS WILL ENGAGE WITH
• Inferential and visual comprehension • Language conventions in an engaging format • Oracy • Peer to peer learning• • Problem solving • Group performance • Collaboration • Logistics • Conflict | resolution in teams • Creativity • Rich language • Inference and Ambiguiuty • Personification • Numeracy • Aural, Visual and Aesthetic Making • Critical thinking & Creative leadership |
BLOODFEST USES A BROADER RANGE OF HUMAN POTENTIAL IN CHILDREN
• Spatial Intelligence • Body- Kinaesthetic Intelligence • Interpersonal and Intrapersonal Intelligence and Skills • Naturalist Intelligence |
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Excerpt from REST - Best Cinematographer 2017 - Jack Henry QLD
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Excerpt from Little Windows - Best Director 2017 - Leonardo Saul NZ
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Horror as a Vehicle for Growth
Excerpt from The Psycologist UK
Dr Christain Jarrett | The Lure of Horror
November 2011
In a 2004 paper, Hank Davis and Andrea Javor at the university of Guelph provided a simple test. They took three of the evolutionary-cognitive themes we’ve discussed so far – predation, contagion and violations of the person category – and had 182 participants rate 40 horror films on their successful portrayal of these features. Films that scored higher tended to have performed better at the box office. the exorcist, often described as the ultimate horror film, scored highest and came out joint fifth in terms of box office revenue. ‘successful horror films are those that do the best job of tapping into our evolved cognitive machinery – they exploit topics and images we already fear,’ says Davis.
If monsters succeed by playing on our primal fears and flicking our cognitive switches, this begs the question: which monster does it most successfully? The zombie may be clawing its way ever deeper into pop culture, but vampires probably remain the quintessential movie monster, at least according to a 2005 survey by stuart fischoff at california state university’s media psychology lab.
Fischoff’s team asked 1166 people aged 6 to 91 to name their favourite movie monster and the reasons for their choice. vampires, and in particular count dracula, came out on top overall. the youngest age group (aged 6–25) preferred Freddy Krueger, but vampires still came in at number two. in general, younger viewers were more partial to slasher film baddies than older participants.
Popular reasons for participants’ choice of monster included superhuman strength, intelligence and luxuriating in evil. ‘Movie monsters tap into our archetypal fears that never entirely disappear no matter how mature, smart, informed and rational we think we’ve become,’ says Fischoff. ‘as the American cartoonist of Pogo, Walt Kelly, might have said, “We’ve met the monster and he is us”
Dr Christain Jarrett | The Lure of Horror
November 2011
In a 2004 paper, Hank Davis and Andrea Javor at the university of Guelph provided a simple test. They took three of the evolutionary-cognitive themes we’ve discussed so far – predation, contagion and violations of the person category – and had 182 participants rate 40 horror films on their successful portrayal of these features. Films that scored higher tended to have performed better at the box office. the exorcist, often described as the ultimate horror film, scored highest and came out joint fifth in terms of box office revenue. ‘successful horror films are those that do the best job of tapping into our evolved cognitive machinery – they exploit topics and images we already fear,’ says Davis.
If monsters succeed by playing on our primal fears and flicking our cognitive switches, this begs the question: which monster does it most successfully? The zombie may be clawing its way ever deeper into pop culture, but vampires probably remain the quintessential movie monster, at least according to a 2005 survey by stuart fischoff at california state university’s media psychology lab.
Fischoff’s team asked 1166 people aged 6 to 91 to name their favourite movie monster and the reasons for their choice. vampires, and in particular count dracula, came out on top overall. the youngest age group (aged 6–25) preferred Freddy Krueger, but vampires still came in at number two. in general, younger viewers were more partial to slasher film baddies than older participants.
Popular reasons for participants’ choice of monster included superhuman strength, intelligence and luxuriating in evil. ‘Movie monsters tap into our archetypal fears that never entirely disappear no matter how mature, smart, informed and rational we think we’ve become,’ says Fischoff. ‘as the American cartoonist of Pogo, Walt Kelly, might have said, “We’ve met the monster and he is us”
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Deadline for Submissions Midnight 31 October 2023 * Discounts available for Remote Areas and Extra Curricular Film Clubs email here Price Includes 8 week Lesson Experience Plans, PDF worksheets, and online Screenwriting resources |
Brochure for Teachers
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Rowan Woods Professional Tips for Teachers
Head of Directing Australian Film Radio and Television School
1. Study the masters of horror.
2. Keep it totally safe when shooting.
3. Keep‘em guessing about what’s off - screen.
2. Keep it totally safe when shooting.
3. Keep‘em guessing about what’s off - screen.