A carregar...
Publicação
Cinema e Educação. Estudos de caso no Brasil e em Portugal
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 1.73 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
O interesse político da EU pela literacia cinematográfica, a nova Lei do Cinema e Audiovisual e a criação do plano Nacional de Cinema (PNC) em Portugal, a nova Lei Cristovam Buarque de Cinema no Brasil juntamente com nossa experiencia no campo, contribuíram para identificarmos a necessidade de que fosse desenvolvida uma investigação mais profunda na área da literacia mediática, com o foco voltado para o campo do cinema e educação.
Ao longo deste trabalho pesquisamos o campo do cinema e educação, levando em consideração as realidades de Brasil e Portugal, num esforço de sistematização, clarificação, identificação e compreensão dos seus elementos essenciais e das relações entre eles. Para isso, desenvolvemos um trabalho etnográfico no campo que teve a duração de 11 meses, cinco em Portugal e seis no Brasil. Este trabalho possibilitou conhecer diferentes projetos de cinema e educação, suas metodologias, pedagogias, com que frequência eles são implementados. Analisar o papel das politicas publicas existentes na área e compreender o que adultos (normalmente no papel de coordenadores e educadores), e jovens (normalmente no papel de educandos) pensam sobre os projetos em que participam, o que e desenvolvido e o que resulta da sua implementação.
E possível identificar que a maior parte dos projetos de cinema e educação não permitem que os jovens se expressem livremente, e que os mantem presos a repetição da narrativa classica, através de mecanismos já conhecidos e utilizados pela pedagogia tradicional. Estes projetos também não estimulam uma participação plena dos jovens e há uma ausência de reflexão e dialogo com os jovens sobre o cinema enquanto uma arte imbuída de pensamentos e questões ideológicas (feita por pessoas e/ou grupos), ou sobre os dispositivos ideologicamente construídos ao longo dos anos.
Reconhecemos que os projetos de cinema e educação exibem e trabalham tecnicamente filmes que os educandos não teriam oportunidade de assistir em outra ocasião. Por sua vez, os jovens educandos declararam gostar das aulas de cinema, e que se sentem contentes por estarem a participar destes projetos. De um modo geral, dizem que depois que começaram a participar das oficinas de cinema veem o cinema com mais atenção e com outros olhos.
EU’s political concern on media literacy, the new Law of Cinema and Audiovisual and the creation of the National Cinema Plan (PNC) in Portugal, the new Cristovam Buarque Cinema Law in Brazil, together with our experience in this field, all contributed for us to identify the need to develop a deeper research in this media literacy field, focusing particularly on the cinema and education field. Throughout this work we researched the field of cinema and education, taking into account the realities of Brazil and Portugal, in an effort to systematize, clarify, identify and understand their core elements and the relations between them. For that purpose, we developed an ethnographic field work that lasted 11 months, five of which in Portugal and six in Brazil. This work allowed us to know different projects on cinema and education, their methods, pedagogies, how often they are implemented. Also to analyze the role of existing public policies in this area and understand what adults (usually in the role of coordinators and educators), and young people (usually in the role of students) think about the projects in which they participate, what’s developed and what are the results from their implementation. It is possible to identify that most projects on cinema and education don’t allow young people to express themselves freely, keeping them stuck on the repetition of the classic narrative, through mechanisms already well known and used by traditional pedagogy. These projects also do not encourage full participation of young people and there is an absence of reflection and dialogue with young people about cinema as an art filled with thoughts and ideological issues (made by individuals and/or groups), or about the ideological devices built over the years. We acknowledge that cinema and education projects exhibit and work technically with films that the students would not have the opportunity to watch any other time or place. On their turn, young students stated having enjoyed cinema classes and that they feel happy for taking part on these projects. In general, they say that after they began participating in the cinema workshops they watch films more attentively and with different eyes.
EU’s political concern on media literacy, the new Law of Cinema and Audiovisual and the creation of the National Cinema Plan (PNC) in Portugal, the new Cristovam Buarque Cinema Law in Brazil, together with our experience in this field, all contributed for us to identify the need to develop a deeper research in this media literacy field, focusing particularly on the cinema and education field. Throughout this work we researched the field of cinema and education, taking into account the realities of Brazil and Portugal, in an effort to systematize, clarify, identify and understand their core elements and the relations between them. For that purpose, we developed an ethnographic field work that lasted 11 months, five of which in Portugal and six in Brazil. This work allowed us to know different projects on cinema and education, their methods, pedagogies, how often they are implemented. Also to analyze the role of existing public policies in this area and understand what adults (usually in the role of coordinators and educators), and young people (usually in the role of students) think about the projects in which they participate, what’s developed and what are the results from their implementation. It is possible to identify that most projects on cinema and education don’t allow young people to express themselves freely, keeping them stuck on the repetition of the classic narrative, through mechanisms already well known and used by traditional pedagogy. These projects also do not encourage full participation of young people and there is an absence of reflection and dialogue with young people about cinema as an art filled with thoughts and ideological issues (made by individuals and/or groups), or about the ideological devices built over the years. We acknowledge that cinema and education projects exhibit and work technically with films that the students would not have the opportunity to watch any other time or place. On their turn, young students stated having enjoyed cinema classes and that they feel happy for taking part on these projects. In general, they say that after they began participating in the cinema workshops they watch films more attentively and with different eyes.
Descrição
Palavras-chave
Cinema e educação Educação para os media/mídia educação Literacia mediática Jovens Pedagogias Cinema and education Media education Media literacy youth Pedagogy