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“Nós e os outros”. A multiperspetiva e empatia histórica através do recurso à imagem em movimento
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A utilização da imagem em movimento não se constitui uma novidade no Ensino da História. Em finais do século XIX, Thomas Edison entendia que o recurso ao Cinema em contexto letivo iria revolucionar, por completo, o sistema de ensino e a forma como os conteúdos seriam transmitidos aos alunos. Não obstante, após mais de um século, acredita-se que o seu potencial não atingiu as proporções ambicionadas, servindo, muitas vezes, para o reforço de práticas didáticas já estabelecidas e não se assume necessariamente a representação de novas formas de trabalhar os conteúdos e desenvolver competências.
Este relatório parte não só da convicção das potencialidades da imagem em movimento na disciplina de História, como dos benefícios e valias pedagógicas que podem ser extraídas através da sua correta utilização e com a definição de objetivos educacionais explícitos e devidamente delineados, visando-se aferir a sua extensão na promoção da multiperspetiva e empatia histórica, enquanto instrumentos de crítica e reflexão da informação, de leitura de narrativas e discursos, e meios de compreensão da dimensão humana na tomada de decisão, com impacto direto no processo histórico.
Num segundo momento, o trabalho por nós realizado procurou consciencializar os estudantes para o processo de construção de imagens do outro, embora nessa caraterização esteja igualmente presente a perceção do nós ou do eu, e almejar a compreensão dos discentes de que uma obra cinematográfica, tal como qualquer fonte escrita ou iconográfica ou expressão artística, é fruto do seu contexto de produção.
A metodologia adotada consistiu na seleção de excertos de obras cinematográficas, na interrupção oportuna dos trechos com o intuito de estimular discussões e relacionar conceitos e ideias lecionadas em sessões anteriores, no recurso de guiões de exploração de filme e na articulação entre a imagem em movimento e fontes em distintos formatos que sirvam para a confrontação de informação.
The use of moving images is not new in History Teaching. At the end of the 19th century, Thomas Edison understood that the use of Cinema in a school context would completely revolutionize the education system and the way in which content would be transmitted to students. However, after more than a century, it is believed that its potential has not reached the desired proportions, often serving to reinforce already established didactic practices and not necessarily representing new ways of working and develop skills. This report is based not only on the conviction of the potential of the moving image in the discipline of History, but also on the benefits and pedagogical value that can be extracted through its correct use and with the definition of explicit and duly outlined educational objectives. We aim to assess its extension in promoting multi-perspective and historical empathy, as instruments for criticizing and reflecting on information, for reading narratives and speeches, and understanding the human dimension in decision-making, with a direct impact on the historical process. Secondly, the work we carried out sought to raise students' awareness of the process of constructing images of the other, although in this characterization the perception of the we or the self is equally present, and aim for the students' understanding that a cinematographic work, like any written or iconographic source or artistic expression, it is the result of its production context. The methodology adopted consisted of the selection of excerpts from cinematographic works, the timely interruption of the excerpts with the aim of stimulating discussions and relating concepts and ideas taught in previous sessions, the use of film exploration scripts and the articulation between the moving image and sources in different formats that serve to compare information.
The use of moving images is not new in History Teaching. At the end of the 19th century, Thomas Edison understood that the use of Cinema in a school context would completely revolutionize the education system and the way in which content would be transmitted to students. However, after more than a century, it is believed that its potential has not reached the desired proportions, often serving to reinforce already established didactic practices and not necessarily representing new ways of working and develop skills. This report is based not only on the conviction of the potential of the moving image in the discipline of History, but also on the benefits and pedagogical value that can be extracted through its correct use and with the definition of explicit and duly outlined educational objectives. We aim to assess its extension in promoting multi-perspective and historical empathy, as instruments for criticizing and reflecting on information, for reading narratives and speeches, and understanding the human dimension in decision-making, with a direct impact on the historical process. Secondly, the work we carried out sought to raise students' awareness of the process of constructing images of the other, although in this characterization the perception of the we or the self is equally present, and aim for the students' understanding that a cinematographic work, like any written or iconographic source or artistic expression, it is the result of its production context. The methodology adopted consisted of the selection of excerpts from cinematographic works, the timely interruption of the excerpts with the aim of stimulating discussions and relating concepts and ideas taught in previous sessions, the use of film exploration scripts and the articulation between the moving image and sources in different formats that serve to compare information.
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Palavras-chave
Ensino da História Empatia Multiperspetiva Cinema History Teaching Empathy Multiperspectivity