Olhar caleidoscópico: a experiência do cinema como prática pedagógica
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Data
2017-08-22
Autores
Persegueiro, Kelcilene Gisela [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho de dissertação de mestrado consistiu em uma pesquisa de campo realizada em uma Escola Municipal de Piracicaba-SP, em que atuava como professora substituta , do 1º ano, em uma sala com 22 crianças, com idade entre 6 e 7 anos, do Ensino Fundamental I. Esta pesquisa apresenta oito oficinas de desenhos animados inspirados nos episódios do Sítio do Pica Pau Amarelo de Monteiro Lobato. Durante esse processo entendeu-se a necessidade de apresentar novos olhares para as práticas pedagógicas, que foram construídas sem camisa de força, a partir das tendências progressistas, que dispuseram mais de quinze práticas pedagógicas calcadas no diálogo, de acordo com a prática educativa Libertária de Paulo Freire (1977). A partir do encontro do cinema na escola foram levantadas as seguintes questões de pesquisa: 1. Que práticas pedagógicas podem ser fomentadas a partir do cinema na escola com crianças do ensino fundamental, ciclo I? 2. A experiência do cinema na escola é capaz de construir uma educação como prática educativa libertária (liberdade em construção) a partir do pensamento de Paulo Freire? 3. Que produções de conhecimentos por parte dos alunos, a partir do cinema, atestam a prática da liberdade e autonomia? Esses problemas desencadearam nossos objetivos, que são: a. Compreender que tipo de práticas pedagógicas podem ser construídas a partir da experiência do cinema e de que maneira podem promover/ criar/afetar/ transmitir/ transformar os alunos e estimular a produção de conhecimento; b. Verificar como a relação das crianças com os filmes conduzem a um aprendizado que permite uma leitura de mundo no qual as experiências prévias das crianças somam-se à própria experiência do cinema. Acreditamos nas propostas do cineasta francês Alain Bergala, que traz reflexões sobre estudos do cinema para a prática educacional na escola e Fresquet (2013) que mantém um questionamento muito intrigante para todos nós educadores, no sentido de servir como reflexão e sair da condição de conforto ao pensarmos a própria prática docente, que tipo de experiências seria promovida numa pedagogia emancipadora? A metodologia utilizada é a pesquisa-ação, tendo sido realizadas as Oficinas de Cinema, seguidas de rodas de conversas de forma livre e sem roteiro, inspirada em Freinet (1973). Nas análises dos dados, utilizamos as inferências por Bardin (1979) discutido por categorias/eixos. O cinema inseriu marcas e significados para as crianças que contribuíram para reflexão sobre tomadas de decisões da própria vida e desfrutaram de ideias e criações que levaram a construção das práticas pedagógicas, podendo se pensar a própria Pedagogia do Cinema, para se refletir a importância do sentido de experiência do cinema na construção de práticas pedagógicas, como formação humana, tecendo elo entre o cinema e educação e cinema na escola, tido como potencialidades para se pensar a educação no país.
The present work consists of researching in a Municipal School of Piracicaba-SP, in which the researcher acted, as a substitute teacher, of the 1st YEAR, in a classroom with 22 children, aged 6 And 7 years of Elementary School- Cycle 1. This research presents seven short film workshops that aims to work with children in cartoon films, based on and inspired by the episodes of the Pica Pau Amarelo site in Monteiro Lobato, with the aim of think of the following research questions: 1. What pedagogical practices can be promoted from the cinema in the school with elementary school children, cycle I? 2. Is the experience of cinema in school capable of constructing an education as an educational practice of the libertarian (freedom under construction) from the thought of Paulo Freire ? 3. What productions of knowledge on the part of the students, from the cinema, attest to the practice of freedom and autonomy? These problems have triggered our goals, which are: a. Understand what kind of pedagogical practices can be built from the experience of cinema and how they can promote / create / affect / transmit / transform students and stimulate the production of knowledge; B. Check how the relationship of children with films leads to a learning that allows a world reading in which children's previous experiences add to the experience of the cinema. We believe that cinema within schools offers opportunities for learning, otherness and art, so we held the film workshops to promote new possibilities and identified the peculiarities in the way children received the experience of cinema and what provoked / captivated Children after each workshop. As cinema is something essential in the construction of pedagogical practices, cinema is highlighted as a way of playing, emphasized by Fresquet (2013) and the identification of otherness, through the perspective of Alain Bergala (2008). In order to complement the understanding of the pedagogical practices from the cinema as an experiment without a straitjacket, we used the progressive tendencies, which had more than fifteen pedagogical practices based on dialogue by Paulo Freire ( 1977). The methodology used is action research, with film workshops, followed by free-form conversations (in speech and thoughts) and without a script with children, inspired by Freinet (1973). In the analysis of the data, we highlight the cinema in the school that allows a multiplicity of ways of being understood, named cinema as kaleidoscope. The cinema began to be discussed by categories from the data analysis, we used the inferences highlighted by Bardin (1979). It is worth emphasizing the importance of the relationship that they built with the cinema in the school. In the same way, the relations and identifications with the characters of the drawings point to the constitution of a culture of the cinema, being able to think the own Pedagogy of the Cinema, to think about education in the country.
The present work consists of researching in a Municipal School of Piracicaba-SP, in which the researcher acted, as a substitute teacher, of the 1st YEAR, in a classroom with 22 children, aged 6 And 7 years of Elementary School- Cycle 1. This research presents seven short film workshops that aims to work with children in cartoon films, based on and inspired by the episodes of the Pica Pau Amarelo site in Monteiro Lobato, with the aim of think of the following research questions: 1. What pedagogical practices can be promoted from the cinema in the school with elementary school children, cycle I? 2. Is the experience of cinema in school capable of constructing an education as an educational practice of the libertarian (freedom under construction) from the thought of Paulo Freire ? 3. What productions of knowledge on the part of the students, from the cinema, attest to the practice of freedom and autonomy? These problems have triggered our goals, which are: a. Understand what kind of pedagogical practices can be built from the experience of cinema and how they can promote / create / affect / transmit / transform students and stimulate the production of knowledge; B. Check how the relationship of children with films leads to a learning that allows a world reading in which children's previous experiences add to the experience of the cinema. We believe that cinema within schools offers opportunities for learning, otherness and art, so we held the film workshops to promote new possibilities and identified the peculiarities in the way children received the experience of cinema and what provoked / captivated Children after each workshop. As cinema is something essential in the construction of pedagogical practices, cinema is highlighted as a way of playing, emphasized by Fresquet (2013) and the identification of otherness, through the perspective of Alain Bergala (2008). In order to complement the understanding of the pedagogical practices from the cinema as an experiment without a straitjacket, we used the progressive tendencies, which had more than fifteen pedagogical practices based on dialogue by Paulo Freire ( 1977). The methodology used is action research, with film workshops, followed by free-form conversations (in speech and thoughts) and without a script with children, inspired by Freinet (1973). In the analysis of the data, we highlight the cinema in the school that allows a multiplicity of ways of being understood, named cinema as kaleidoscope. The cinema began to be discussed by categories from the data analysis, we used the inferences highlighted by Bardin (1979). It is worth emphasizing the importance of the relationship that they built with the cinema in the school. In the same way, the relations and identifications with the characters of the drawings point to the constitution of a culture of the cinema, being able to think the own Pedagogy of the Cinema, to think about education in the country.
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Palavras-chave
Cinema na escola, Práticas pedagógicas, Cinema, Produção de conhecimento, Educação, Cinema and education, Education, Pedagogical practices, Pedagogical practices with films