Archive for May, 2012

Cinematographic Education

Cinematographic education and Medias Angelica Piovesan Lvia Melo Barbosa Fabricia Borges Angeline Piovesan INTRODUCTION the use of cinematographic medias in classroom can serve of support the professor to work some concepts, subjects and meanings used in the daily life of its pupils. This article has as objective to argue the construction of the concept of violence in the society from the use of films in classroom. We will use as referencial the theoreticians of Partner-Historical Psychology and the cinematographic language for this construction. We will initiate with the definition of violence for Houaiss (2004), violence means constaint physical or moral exerted on somebody, to compel it to submit it the will of outrem; coercion. Quality of what he is violent. Action or effect to force, to use physical force (against somebody or something) or moral intimidation against (somebody); violent act, cruelty. The violence is part of the history of the man, since the ethnic and religious conquests, wars, conflicts. For some theoreticians of the contemporaneidade the violence is enrolled in all the human beings and from the civilization human being the man started to try to control it to insert itself in the culture.

At the time of modernity the man started to deny the suffering and pain, as consequence of the conflicts occurred from the requirements of the civilization. For Marin (2002), he has the idea of that the temptation in preventing the suffering has contributed for the violent and arbitrary manifestations so gifts in our society, without denying the social political and economic condicionantes of the violence. Modernity was demarcated by corresponding factors to the industrial revolution that had caused changes the daily life of the individual through new technologies and medias. In accordance with Walter Benjamin (1994), the progress has the mark of catastrophes due to deadly exploration of the nature and the perfectioning of war technologies, where ' ' To live became an experience of risco' ' , or ' ' the risk became a skill of viver' ' , in which the excess is always present.

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Bill

May 31st

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Paschoal Segreto Cinema

Summary: The culture constitutes one of the wealth of bigger notabilidade in Brazil. Laws and mechanisms had been created throughout the years to stimulate the development of this dynamic and strategical sector, over all with respect to the cinema, whose trajectory denotes the faced difficulties to evolve. The BNDES is one of the responsible ones for the oferecimento of instruments of financial support to the audiovisual. These instruments, by means of bibliographical research and emphasis in the dialtico method for understanding of the reality, had been investigated in the present article, what it provided a clarification of its action and the reason for which still today, lack of half supplying to the people the due access to the cultural goods. Word-key: BNDES; Brazilian cinematographic politics; financing; laws. 1. INTRODUCTION the cinema (abbreviation of ' ' cinematgrafo' ' , of the Frenchman cinmatographe) little arrived at Brazil after its invention in the subterranean of the Grand Coffee, in Paris, where the Lumire brothers had carried through the first one paid and public exhibition of a series of ten films, with duration of 40 the 50 seconds each. Thus, the first registered exhibition dates here of 1896, in Rio De Janeiro. One year later already existed in the River a fixed room of cinema, ' ' Hall of Paris&#039 New features; ' , of Paschoal Segreto, having the first national films been twirled between the years of 1897-1898.

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Bill

May 27th

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