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| Author(s): |
Daniel Marcolino Claudino de Sousa
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Educação (FE/SBD) |
| Defense date: | 2017-02-07 |
| Examining board members: |
Celso Fernando Favaretto;
Rogério de Almeida;
Ana Paula Nunes Chaves;
Ferdinando Crepalde Martins;
Amaury Cesar Moraes
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| Advisor: | Celso Fernando Favaretto |
| Abstract | |
The projectO cinema vai à escola (\"Cinema goes to school\"), from SEE-SP / FDE (2008 to 2015), is the subject of study of the present work, which examines it by approaching the perspectives of cinema and education. Thus,begins fromthe Benjaminian question of the impoverishment of experience and, in some way, of the embellishment of the impoverishment of the repertoire of images, seeking to identify ways of using cinema in school and investigating if and to what extent the said project causes the impoverishment of experiencethroughtheways ofthe entrance of the cinema in school. In general, cinema at school is supported by an official pedagogical discourse that specifies and attributes the place of cinema in the school universe.This work identifies and analyziesthese places. Cinematographies, such as Godard\'s, Italian Neo-realism and Brazilian Cinema Novo, confront and place themselves as references to this place attributed to cinema byschool. It is understood here that the perspective of these cinemas, as well as our conception of school, whose primary function has to do with the displacement of the stabilized references of the subjects, do not constitute of lucubrations disconnected from the socalled reality of the current school universe. On the contrary, they understand that the present in which the film appears to constitute the film operates there with no permanent solution. However, in using illustrative cinema, hegemonic pedagogical discourse in schools, in spite of the discussion about the dilution of the subject-that is, of the loss of the unitary historical perspective-strengthens this place of the subject. Thus, it promotes a mode of learning that takes the \"content\" of the work, the \"message of the film\", as the central object, moralizing it. In this way, it does not take it as a work of art or even as an object of experience, reducing it to a pedagogical resource that can \"facilitate\" scientific studies. In this sense, it is important to investigate the idea ofcurriculum and the place that art occupies in it, and more specifically the cinema, because of the unanimous urgency regarding the treatment of media and cinema in school. In order to do so, this work analyzes the official texts of the SEE-SP (Cadernos de Cinema do Professor-\"Teacher\'s Film Schedules\"-and the videos about the Project),among others,which regulate the entrance of cinema to school. In time, we took as a parameter the French experience transposed in book by Alain Bergala (2007), as well as parameter the French experience transposed in book by Alain Bergala (2007), as well asimportant (AU) | |
| FAPESP's process: | 13/16324-0 - FILM AT SCHOOL: INSIGHTS FOR (DIS)EDUCATION |
| Grantee: | Daniel Marcolino Claudino de Sousa |
| Support Opportunities: | Scholarships in Brazil - Doctorate |