"Se podes ver, repara": a (re)educação do olhar em cena
Peres, Helga Caroline
MetadataShow full item record
This research is part of the investigations that focus on the link between cinematographic language and aesthetic formation. Specifically, we part from the critique of the way in which school education promoted by hegemonic school models appropriates cinema – demarcated, predominantly, by transforming movies into didactic objects that stand in the way of experience or, still, by maintaining fun and entertainment in line with semiformation - to investigate the character of a school formative proposition in tune with the aesthetic experience with cinematographic language and with a project of reeducation of the view. Our central objective is to explore and to understand the meanings of the aesthetic experience with cinema as pedagogical praxis. Our efforts are directed to the following question: could the appropriation of cinematographic language at school be re-signified in the direction of an aesthetic-cultural formation aimed to reeducation of the view? We consider the hypothesis that the reeducation of the view and the aesthetic experience, when seen as telos of a theoretical-critical formative orientation that aims to provide conditions for the critical-philosophical exercise around the cinematographic language, can only be read in the context of negativity - or, in other words, as a negative pedagogy of cinema. In order to embody the investigative process around it, we approach empirics based on the theoretical-methodological construct guided by Objective Hermeneutics, which then becomes the interpretive method of our data. We used the empirical reconstruction operated by this methodology to interpret the contradictions that emerge from what we named “pedagogical interventions”: didactic activities carried out by the researcher, in a classroom of the 5th year of Elementary School, in which students has watched five movies, which were later discussed collectively. The critical interpretation of the data from these interventions reveals that the experiences of the students with the presented movies were marked by a basic contradiction – which indicates that, at the same time that the reception of the movies presented strong marks of the model of the movie’s reception typical of entertainment, already consolidated by cultural industry, there was a kind of openness to experience and critical self-reflection, which to some extent come close to the senses of a deep and subjective experience mediated by fantasy and imagination. The interpretation of the data also reveals that didactic mediation, with regard to the experience with cinematographic language, becomes a decisive factor. Faced with this data, our thesis points to a negative pedagogy of cinema that remains open as a negative utopia, which can and must find a place on the margins, among the gaps that emerge from institutionalized pedagogy.
The following license files are associated with this item: