Entre choques, cortes e fissuras - a (semi)formação estética: uma análise crítica da apropriação de filmes na educação escolar
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Data
2016-01-22
Autores
Peres, Helga Caroline [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa intenta problematizar a reprodução de filmes no âmbito da educação escolar, sendo seu objetivo central compreender a forma com que professores que atuam no Ensino Fundamental I percebem e organizam essa possibilidade. Para chegar a esse escopo, partimos de determinados questionamentos que envolvem a produção fílmica, a fim de compreender a inserção do filme na educação escolar no domínio da relação produção-reprodução e dos processos e mediações que a cercam. Tais questionamentos nos permitem antever a existência de uma didática do filme que é inerente e intrínseca à intenção nele depositada pelo cineasta ou produtor; esta didática se diferencia da didática puramente escolar, que se preocupa em atribuir aos filmes o caráter extrínseco de objeto, tornando-o passível de ser reproduzido na escola enquanto recurso de apoio aos conteúdos – feito que explicita sua instrumentalização. Considerando tal questão, defendemos a hipótese de que a reprodução dos filmes, na educação escolar, através de sua didática intrínseca, pode vir a dar vistas a um processo de reeducação de nossos sentidos já formatados pelo presente cenário que se caracteriza pela intensificação dos mecanismos da indústria cultural, identificados por Max Horkheimer e Theodor W. Adorno na década de 1940, e que encontra-se marcado atualmente pela produção exacerbada não só de imagens fílmicas, mas de toda sorte de conteúdos e extensões audiovisuais. Para que essa reeducação dos sentidos ocorra, no entanto, é necessário considerar e desvelar o caráter contraditório do filme – pois ao mesmo tempo em que oblitera a reflexão autônoma por integrar o âmbito das mercadorias da indústria cultural, ele pode vir a integrar o campo da arte, esta que fundamenta a reflexão crítica. Com base em tais considerações, buscamos responder a seguinte questão: a forma com que os professores supracitados se apropriam dos filmes em suas práticas docentes dá visibilidade para que a reeducação dos sentidos se torne efetiva no âmbito da educação escolar, em detrimento de sua mera instrumentalização enquanto recurso didático? Para encontrarmos as respostas para essa pergunta central, optamos por uma metodologia fundamentada em nosso referencial teórico-metodológico – qual seja, a primazia dialética do objeto, que implica que tomemos nosso objeto de pesquisa sob a perspectiva da imanência. Através de entrevistas semi-estruturadas realizadas com quatorze professores do Ensino Fundamental I, buscamos compreender os parâmetros através dos quais o filme é inserido no âmbito escolar; esta análise nos mostrou que, na contramão de nossa hipótese, a principal tendência naquilo que se refere à apropriação dos filmes na escola reflete o utilitarismo característico da didática escolar moderna. A partir destas aproximações, encontramos alguns desdobramentos que apontam para a urgência de que a formação docente – mais especificamente, a formação do Pedagogo – abrace uma perspectiva teórico-crítica que se direcione para reflexões e intervenções que tenham em vista o rompimento com os padrões da estética fílmica hegemônica.
This research attempts to problematize movie reproduction within the school education, it is its mean objective to understand the way teachers working in Elementary School perceive and organize this possibility. To reach this scope, we left certain questions involving the filmic production, in order to understand the inclusion of the film in school education in the field of relationship between production and reproduction, and the processes and mediations that surround it. Such questions allow us to predict the existence of a film’s didactic that is inherent and intrinsic to the intention placed in him by the filmmaker or producer; this didactic is different from purely academic teaching, who cares about you assign the extrinsic character object or didactic piece, make it capable being reproduced in school while supporting use of educated contents – done that explain its instrumentalization. Considering this issue, we defend the hypothesis that reproduction, through its intrinsic didactic, can potentially provide views of our senses reeducation process already formatted by this scenario that is characterized by intensification of the cultural industry mechanisms, identified by Max Horkheimer and Theodor W. Adorno in the 1940s, currently marked by heightened production not only of filmic images, but of all sorts of audiovisual content and extensions. For this re-education of the senses occurs, however, it is necessary to consider and reveal the contradictory character of the film – because at the same time obliterates the autonomous reflection to integrate the scope pf the goods of the cultural industry, it may come to join the field of autonomous art, this underlying the critical reflection. Based on these considerations, we seek to answer the question: the way the aforementioned teachers take ownership of the films in their teaching practices gives visibility to the re-education of senses becomes effective in the context of school education, rather than its mere exploitation as a teaching resource? To find the answers for this central question, we chose a methodology on or theoretical and methodological framework – namely, the dialectical primacy of the object, which implies that we take our research subject from the perspective of immanence. Through semi-structured interviews with fourteen teachers of the Elementary School, we try to understand the parameters by which the film is inserted in the school. From this approaches, we found some developments that point to the urgent need for teacher training – more specifically, the Pedagogo’s formation – hug a theoretical and critical perspective that is directed to reflection and interventions aiming at the break whit the hegemonic aesthetic standards.
This research attempts to problematize movie reproduction within the school education, it is its mean objective to understand the way teachers working in Elementary School perceive and organize this possibility. To reach this scope, we left certain questions involving the filmic production, in order to understand the inclusion of the film in school education in the field of relationship between production and reproduction, and the processes and mediations that surround it. Such questions allow us to predict the existence of a film’s didactic that is inherent and intrinsic to the intention placed in him by the filmmaker or producer; this didactic is different from purely academic teaching, who cares about you assign the extrinsic character object or didactic piece, make it capable being reproduced in school while supporting use of educated contents – done that explain its instrumentalization. Considering this issue, we defend the hypothesis that reproduction, through its intrinsic didactic, can potentially provide views of our senses reeducation process already formatted by this scenario that is characterized by intensification of the cultural industry mechanisms, identified by Max Horkheimer and Theodor W. Adorno in the 1940s, currently marked by heightened production not only of filmic images, but of all sorts of audiovisual content and extensions. For this re-education of the senses occurs, however, it is necessary to consider and reveal the contradictory character of the film – because at the same time obliterates the autonomous reflection to integrate the scope pf the goods of the cultural industry, it may come to join the field of autonomous art, this underlying the critical reflection. Based on these considerations, we seek to answer the question: the way the aforementioned teachers take ownership of the films in their teaching practices gives visibility to the re-education of senses becomes effective in the context of school education, rather than its mere exploitation as a teaching resource? To find the answers for this central question, we chose a methodology on or theoretical and methodological framework – namely, the dialectical primacy of the object, which implies that we take our research subject from the perspective of immanence. Through semi-structured interviews with fourteen teachers of the Elementary School, we try to understand the parameters by which the film is inserted in the school. From this approaches, we found some developments that point to the urgent need for teacher training – more specifically, the Pedagogo’s formation – hug a theoretical and critical perspective that is directed to reflection and interventions aiming at the break whit the hegemonic aesthetic standards.
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Palavras-chave
Cinema e educação, Didática fílmica, Indústria cultural, Formação estética, Reeducação dos sentidos, Movie and education, Filmic didactic, Cultural industry, Aesthetic formation, Reeducation of senses