Thanks to the development of modern technology, today almost everyone has the ability to shoot and broadcast moving images over the network. The camera has become accessible and ubiquitous, but the sociocultural consequences and possibilities of this fact are still poorly understood.
Many researchers (Stigler, Lundemo) point to the fact that the personal experience of an individual in the digital age is largely composed not of images of objective reality, but of images created by other people.
Because of these 'mediated' events, the border between what we got from objective reality and what we put into our memory large and small screens is blurred in our minds.
The visual in human communication has always played a major role. The current point of view that the visual, figurative in the modern world in terms of its potential and social significance can today play the role that written literacy played in the era of enlightenment, seems quite justified.
The modern development of information technology leaves no doubt about the technical capabilities of this, but there are many conflicting assessments on the quality of visual information on the network. The mass production of moving images in the media, especially on the Internet, is redundant. The resulting images are similar, the camera angles are standard, the storylines, if any, are commonplace. Written literacy cannot convey the baton of mass visual illiteracy. One of the solutions to this problem is the Film Literacy education project. The tasks of film education have much in common with the tasks of media and information literacy (MIL). The MIL is aimed at solving extremely important and urgent problems. Solving such important tasks, it is neither advisable nor rational to neglect the experience and potential of the accumulated film education and film culture.
Programs such as Film Literacy expand communication opportunities and overcome the problems of information exchange, which are not few today.
Through such programs, it is possible to determine the causes of information and communication disorders, to understand what images and perspectives of images are missing, to revitalize and diversify the exchange of visualized products.
In Russia, film education is being addressed at the level of projects and initiatives of specific educational institutions. In St. Petersburg, these are centers of children's technical creativity, film schools at gymnasiums and universities.
Unfortunately, an analysis of the activities of these schools in St. Petersburg showed that training is mainly related to technical issues: editing, sound, analysis of devices used in cinema, etc. Nevertheless, in some schools, young people are taught to understand the language of cinema and its aesthetics using the examples of classics of world and Russian cinema (S. Eisenstein, D. Vertov and others). In the digital age, it is necessary to more systematically and systematically use the educational and humanistic potential of cinema.