This article explores how lens-based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists' film and moving-image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving-image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out-of-time, temporal experiences. Deleuze's time-image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context.