Imagens educativas do cinema/possibilidades cinematográficas da educação

Abstract

This work is the result of a doctoral research carried out within the Post-Graduation Program of the School of Education of the Federal University of Juiz de Fora (UFJF), aiming at investigating the implications of the cinema in the students´ formative process. The conection between the cinema and education is historically marked by educational practices which use the cinema as a pedagogical tool, an audiovisual resource with a decodifying language/object, and/or identified as an ideological vector. In considering the cinema as aesthetic utterance and its implications in the formative process of these subjects, the issue related to image education is raised, bearing in mind the specificities of the cinematographic art. For Deleuze, as well as for Cabrera, images are a modality of thought, and thought related to images is not exclusively intellectual, as it takes the affection it evokes into account. Therefore, imagetic language is not based on the notion of a system of rules or codes, but, as Bakhtin points out, on the dialogical relationships of the signs in enunciative contexts. By inquiring about the cinematographic look and its implications in the teaching of(by) sensibility and about how cinematographic images can favour the construction of a look on the human being devoid of massive classification and representational thought, an empirical investigation was started in 2010, which targets undergraduate students of Pedagogy at the School of Education of UFJF and, at a certain level, runs against a major trend in educational research whose topic is cinema-education, having either primary school pupils or teachers as their preferable subjects. The creation of the CINEDUCA Project in 2010 by the research group Language, Interaction and Knowledge (LIC) in the School of Education of UFJF provided the locus for the empirical investigations. The proposal was to make room for thinking through the cinema, widening film reception experience with the creation of an environment through which viewers could share their experiences by eye moves, so as to look at the cinema images from inside, going through their transparency, going beyond that common sense which leads to image thingfication, makes them natural and takes hold of them, interpreting them under the disguise of routine. By using the utterances of the subjects who took part in the CINEDUCA project, meaning zones were outlined, showing that, when it comes to taking the cinema to educational and academic settings, the subjects/viewers naturally expect a differentiated fruition, linked to the intentionality supposedly conected to an educational goal. In the case of CINEDUCA, two happenings came into play: the viewing space and the idea of creative expectation, showing that by means of cinema images the subjects/viewers place themselves before the film with world readings that are peculiar of themselves, in spite of accepting the look of the camera which also reveals other readings.Through their effects, cinema images promote interaction between the cognitive-intelligible and the affective-sensitive characteristics of the viewer. Therefore, it is not only the cognitive subject sitting at a school desk or couch to watch a film, but it is also the sensitive one who needs to be in a constant awakening process, posing new challenges which act as pleasant filters in the interaction with the world, stimulating his drive for knowledge. More than learning about the cinema as an unexpected field of knowledge construction, what is shown by the utterances is the possibility of teaching sensibility, with the cinema challenging educational projects that problematize and 2 deepen into nonverbal discoursive order found in different visual frames. Within this perspective, the cinema unbalances sense-based pedagogy which assumes image as holding a monolith meaning in the service of illustrating verbal discourses, subject to interpretation and decodification. The questions raised in this work are more of a challenge to reflection on the cinema images, recognizing the effects it brings into human feeling, thinking and acting.