História para "ver" e entender o passado: cinema e livro didático no espaço escolar (2000-2008)

This study aims to diagnose and analyze the use of film in school space, more precisely, in the teaching of history, from the theoretical perspective of the German historian Jörn Rüsen and thus try to observe together with the assumptions of the Didactics of History elements such as public uses that are made for cinema history. In this sense, research propositions movies found in textbooks of history, paths to offer insights about the impacts caused by learning the historical film narrative, this being a learning also occurs in everyday life of students and not just in school space. For both, the textbooks present in Memorial do Programa Nacional do Livro Didático (PNLD), approved in the following editions PNLD/2005 and PNLD/2008 were used. To perform this diagnostic use, in addition to books, the Call Notices and Guides Textbook PNLD as a way to understand how to perform the theoretical and methodological discussions and recommendations about the potential of cinematic narrative for history lessons and these possible approaches to the theory of history.

O cinema como educação do olhar

The knowledge is only possible due to we exist bodily. However, during the educational experience, the epistemic potency of the body is neglected, declining the registers of the intelligibility. The current thesis approaches that problem obliquely: from a body and image philosophy which has revealed other ways of doing those registers in the modernity – understood not as period itself, but as a qualification for the negotiations between the real and the intelligible. The referred ways are explored through Merleau- Ponty’s and Michel Foucault’s works, which offer a spectrum about that new negotiation of the real. In order to approach the studied problem, the visibility and the human body motricity in the cinema are taken as analysis object. The mentioned objects have been analyzed through a corpus of movies of which plots are centered at the formal education and they require from the characters and the spectators engagement into a visual performance. Aiming to approach the object, it is questioned how the Education phenomenon is represented by the cinema; how the body is exposed and how spectators can see it. Analyzing the corpus and articulating Merleau- Ponty’s and Michel Foucault’s theories, it has been possible to state the following thesis: the cinema as an education of the gaze. The general objective of this study is to reveal the educational potency of the filmic experience, which provides a new path of intelligibility for Education. In that sense, the body as a visual operator widens the capacity of understanding the real. The current work is divided in three chapters. The first one brings the methodological approach: it is pointed how the theoretical articulation is properly arranged; it explains the method of using the images as indirect language as part of the reality description; the filmic corpus is presented, as well the criteria for the films choices and for the construction of instrument adopted during the object analysis are described. In the second chapter, it is problematized the incapacity of the western society of formulating the real discursively by debating Merleau-Ponty’s and Foucault’s theoretical contributions about the visual performance displayed on the images while the films are watched and analyzed. In the third chapter, the implications of the education of the gaze provided by the cinema are developed, mainly concerning about the place attributed to the visibility during the formulation of the real. Finally, paths are designed for the construction of another approach for the visibility in Education. Assuming the gaze as an experience of knowledge, this study aims to present other ways of being, seeing, thinking and feeling the world. Therefore, it is a proposal to reset the epistemic and subjectification patterns at the educational context.

A linguagem audiovisual do cinema como elemento integrador da arte e ciência na formação cultural dos professores de ciências e matemática

This work aims to study about the importance of cinema for cultural and professional training of teachers of Natural Sciences and Mathematics. The educational potential of cinema is emphasizing by different authors, which also reveal the teachers' training gap in this issue (media). In this study, we defend the audiovisual language of cinema as an integrating element of Arts and Science for cultural and professional training of teachers. This subject has been developed by different authors, in which the emphasis has been the importance of intelligent dialogue with the world. Specifically, the training of science teachers and mathematics, by the approach of Cinema in its formation, It envisions the possibility of minimizing the dichotomy between humanistic and scientific training, already much discussed by some researchers. Educational products contribute to an effective experience and reflection on the cultural and educational role of the Seventh Art. Considering the Cinema as a possible "bridge" between the two cultures (scientific culture and humanistic culture) and promoting ownership of audiovisual language in teacher training It was accomplished the I Exhibition - Cultural Spring: Cinema and Science Education in UFRN. The production of the booklet "Topics of History, Language and Art of Cinema for Science and Mathematics Teachers," and its application in a short course in the XXI National Symposium on Physics Teaching also aimed to contribute to the approximation of Science and Art in training teachers.

O som ao redor do baile: retomada e pós-retomada no cinema produzido em Pernambuco

This dissertation uncovers the path of Pernambuco’s independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-São Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.

O som ao redor do baile: retomada e pós-retomada no cinema produzido em Pernambuco

This dissertation uncovers the path of Pernambuco’s independent cinema of the Retomada, of its production in the second half of the 1990s until mid 2012 when the sector manages to secure a funding edict (Funcultura) for its films and at the same time establishes a few symbolic mechanisms which contributed to the consolidation of a new cycle, the post-Retomada, namely: cinephilia and brodagem. Because it is a cinematography (pernambucana) outside the Rio-São Paulo axis, that is, outside the great center of the brazillian culture industry, the cinema produced in Pernambuco built a very specific modus operandi, in which a material basis, the consolidation of Funcultura, intercrossed with two symbolic practices feeding on each other, cinephilia and brodagem. In this regard, we seek not to establish the material perspective as the primary determination as opposed to the symbolic one. Futhermore, we followed the path of cinephilia in its direct commucation with the brodagem, and how both these logics pressured authorities to institute an incentive funding separated from other artforms in the state. From this point of view, we attempted to trace the trajectory of this cinematography in its external nuances, but also taking into account the internal nuances of its works of art (films). Following this, we created categories to define and distinguish the nuances of the Retomada and post-Retomada productions regarding ethical and aesthetical choices made by directors from both generations.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Hemeroteca digital temática: socialização da informação em cinema

MEDEIROS, Rildeci; MELO, Erica S. F.; NASCIMENTO, M. S. Hemeroteca digital temática: socialização da informação em cinema.In:SEMINÁRIO NACIONAL DE BIBLIOTECAS UNIVERSITÁRIAS,15.,2008,São Paulo. Anais eletrônicos... São Paulo:CRUESP,2008. Disponível em: http://www.sbu.unicamp.br/snbu2008/anais/site/pdfs/3018.pdf

O cinema, o jogo e a cultura

práticas artificiais, que incluem a experiência midiática, numa negociação/conciliação permanente entre a cultura objetiva (social) e a subjetiva (do indivíduo). A mediação cotidiana e fundamental é a comunicação do real com o imaginário. Para além do ato ou efeito de mediar, de estar entre, as mediações são a articulação entre práticas de comunicação e movimentos sociais; são as modalidades da comunicação dentro das quais se inserem os meios e que estão ligadas ao sensorium dos modos de percepção e da experiência social. O cinema reflete esse quadro como produto de uma experiência coletiva de fascínio mágico, um lugar de participação afetiva. Comporta elementos do jogo não competitivo e também apresenta elementos do sagrado pela alimentação e divulgação de mitos, pela ritualização convertida em periodicidade e pelo extraordinário evocado em êxtase profano.