O discurso da criação fílmica como mediação da aprendizagem do saber escolar

Abstract

The visual image has been configured as one of the crucial points of the contemporary society's culture. As such, it has been positioned as a possibility of activating, articulating and producing educational practices in school and non-school contexts, mediating the appropriation of historically accumulated knowledge. In such scenario, cinema appears as a visual artifact qualified to realize this process. According to the spirit of this historical movement, the present study proposes to carry out an investigation on the discourse of filmic creation as school knowledge’s learning mediation. It is a research of an analytical-descriptive character, situated within the scope of qualitative investigations. The theoreticalmethodological approach adopted is Michel Foucault's Archaeological Analysis of Discourse (AAD) (2008). Based on the analysis of the texts produced in the context of the project Inventar com a Diferença, promoted by the Human Rights Secretariat of the Presidency of the Republic (SDH / PR) and the Fluminense Federal University (UFF), the research identified the enunciative correlates that compose the discursive order of filmic creation as school knowledge’s learning mediation. It was verified that the proposal of this project puts into circulation a series of enunciative correlations that gives visibility to the use of cinema as an art in the school and as a learning device about human rights knowledge. These correlations are transversely involved in the specific network of school knowledge through pedagogical strategies and filmic creation devices. In this scenario, the student occupies the position of subject of rights and producer of knowledge through the experience of artistic creation, as the teacher occupies the position of mediator of the creative process, promoting a collaborative, contextualized and emancipating educational practice. We conclude that the given order of discourse is organized in the correlation of three discursive modalities: artistic, legal and educational, constituting an enunciative field articulated in the nexus between the domains of ethics, aesthetics, politics and communication. Among the statements that have a status in this discursive order, we point out: the use of cinema as art in school as an emancipatory educational practice; the valorization of diversity and difference as guiding principles of an educational process that addresses the issue of the otherness of self, of other and of world through the cinema; the mobilization of cinema workshop as a device to carry out film creation in school context; and the practice of collaborative film creation as a pedagogical strategy for the acquisition of sensibilities and values related to the culture of human rights.