The digital video, that reveals itself with de most important audiovisual support of this cultura... more The digital video, that reveals itself with de most important audiovisual support of this cultural panorama, carries technical and aesthetics properties that are peculiar. The objective this article is explore the singularities and the character of narratives promotes for this media, trying characterize that which is named audiovisual narratives. This narratives are served, specialty, through of digital platforms like a Youtube-supposed democratic space that gives voice for this narratives. The Walter Benjamin's consideration about the narration and the actions of the experience (Erfahrung) will be taken with conducting wire this discussion. According to the philosopher, the art of narration is extinct due the annihilation of the experience, his main substance. Taking into account the refined cultural diagnosis of the philosopher, we will take the following question as the basis for the construction of our argument: what elements are substantial to the construction of the audiovisual narrative, and in what sense do these elements give rise to a qualitatively different experience from that presumed by Benjamin for your producer / viewer? From there, we hypothesize that such narratives, besides demonstrating a kind of virtualization of the written text, depart from what is characterized as narration by the Frankfurtian philosopher for presenting a fragmented, ephemeral and timeless structure, based on aesthetics of the abbreviation.
We will return in this article some elements that touch the concept of coldness. Linked to the pr... more We will return in this article some elements that touch the concept of coldness. Linked to the process of material reproduction in bourgeois society, is shows itself as cultural malaise that translates into the expression of indifference in the relations established between the subjects. Supported by the contribution of the Critical Theory of Society, the dialogue with the argument in question will take place through the analysis of the movie The White Ribbon [Das Weiße Band, 2009], by the Austrian director Michael Haneke. Unlike a movie that presents itself as a casual narrative, this movie brings to the viewer the experience whit the puzzles implies in him, thus expressing the formative and educational sense that is intrinsic to him, and attributed a posteriori. Accordingly, the hypothesis is that in addition to the allegories that go back to the embryo of totalitarian regimes in general and the Nazi regime in Germany in particular, there are also enigmatic elements in Haneke’s movie that point the concept of bourgeois coldness, which may provide the spectator whit critical reflection on the conditions that led to such a moment of barbarism.
This research attempts to problematize movie reproduction within the school education, it is its ... more 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.
The digital video, that reveals itself with de most important audiovisual support of this cultura... more The digital video, that reveals itself with de most important audiovisual support of this cultural panorama, carries technical and aesthetics properties that are peculiar. The objective this article is explore the singularities and the character of narratives promotes for this media, trying characterize that which is named audiovisual narratives. This narratives are served, specialty, through of digital platforms like a Youtube-supposed democratic space that gives voice for this narratives. The Walter Benjamin's consideration about the narration and the actions of the experience (Erfahrung) will be taken with conducting wire this discussion. According to the philosopher, the art of narration is extinct due the annihilation of the experience, his main substance. Taking into account the refined cultural diagnosis of the philosopher, we will take the following question as the basis for the construction of our argument: what elements are substantial to the construction of the audiovisual narrative, and in what sense do these elements give rise to a qualitatively different experience from that presumed by Benjamin for your producer / viewer? From there, we hypothesize that such narratives, besides demonstrating a kind of virtualization of the written text, depart from what is characterized as narration by the Frankfurtian philosopher for presenting a fragmented, ephemeral and timeless structure, based on aesthetics of the abbreviation.
We will return in this article some elements that touch the concept of coldness. Linked to the pr... more We will return in this article some elements that touch the concept of coldness. Linked to the process of material reproduction in bourgeois society, is shows itself as cultural malaise that translates into the expression of indifference in the relations established between the subjects. Supported by the contribution of the Critical Theory of Society, the dialogue with the argument in question will take place through the analysis of the movie The White Ribbon [Das Weiße Band, 2009], by the Austrian director Michael Haneke. Unlike a movie that presents itself as a casual narrative, this movie brings to the viewer the experience whit the puzzles implies in him, thus expressing the formative and educational sense that is intrinsic to him, and attributed a posteriori. Accordingly, the hypothesis is that in addition to the allegories that go back to the embryo of totalitarian regimes in general and the Nazi regime in Germany in particular, there are also enigmatic elements in Haneke’s movie that point the concept of bourgeois coldness, which may provide the spectator whit critical reflection on the conditions that led to such a moment of barbarism.
This research attempts to problematize movie reproduction within the school education, it is its ... more 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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