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The Use Of The Cinema In The Classroom

Bill — Tue, 15 May 2012 03:20:05 +0000

The USE OF the CINEMA IN the CLASSROOM * Luciette Gomes Amorim SUMMARY the present assay considers a new to look at for the educational reality by means of the cinema that if discloses of unknown and independent form, since we are ahead of a context dominated for images is necessary the diversification of languages for our educators in order to potencializar education, the cinema with art will be ally of the education in order to form citizens. In this way if we do not know that we do not go to solve but in certain way we will brighten up the one of the biggest concerns lack of stimulatons in children and young in the school, in the classrooms mainly when they are of history. The professor must adopt the cinema as source to know description, elements that reflect sensitivity, rationality, is inserted there as well as the socialization shared in the exchange of information in the established debates. Word-Key: Classroom, School, Cinema, Education of history. It is observvel the great impact of the cinema and its power in the transmission of ideas, ahead of this function it is for the historian, history professor a resource not more delinquent. Of this the revolution of the Annales the historiografia incorporated the importance of the diversification of the sources thus extending its field of inquiry, criticizing factual history, is then in this circumstance that it acquires object status of analyzes historical.

The document is not more only the writing, officer the word gains a way direction ampler that the image, the sound now passes to be been valid as registers. The historiografia walks for another bias where the great personages and facts are not more central offices, spaces for one confide ' ' New Histria' ' new boardings. The iconography must together be criticized with the context in which she was inserted since this is not immune the ideological manipulations and is product of the society, of the time produced that it is of utmost importance is intent to this detail.

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German Society

Bill — Tue, 08 May 2012 05:36:10 +0000

174) The cinema became complete by means of the look of its receivers, the finished product that is submitted to the appreciation is the work of art that differently of the picture offers not only an only image, but a composition of series of images. It was through this game that are established between team assembly plant of the film and public spectator that the cinema reached significance, either it German expressionista cinema, the Nouvelle becomes vacant or the Cinemanovismo Brazilian, placed here as starting point of our debate on the social representations. The styles appear with distinct characteristics, the public analyze the flmica workmanship, deciphering it by means of its agreement to about the world. The different images search the attraction of the look in order to acquire significao in its representacional essence. The social representations of that in Durkheim speaks to them present innumerable variants, defying the researcher if to question on the reality and for existing something in individual psychology and in what it concerns the agreement about the society.

' ' With effect, what the collective representations translate are the way as the group if thinks about its relations with the objects affect that it. However, the group is not constituted in the same way that the individual, and the things affect that it are of another nature. Representations that do not state nor the same citizens, nor the same objects, could not depend on the same causes. Click Will Smith to learn more. To understand the way as the society it represents same itself and the world that the fence, is nature of the society, and not it of the particular ones, that if it must considerar.' ' (DURKHEIM, 2007, P. XXIII) The cinema acquires the meaning of representative of the manifestations of cultural matrix and of this form, by means of the art and its significance, it is possible to understand the different social relations that base the society.

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The New Cinema

Bill — Wed, 02 May 2012 21:16:21 +0000

In this way if it intends to understand the existing crossing between social cinema and relations, in view of that such social representations are characterized by the existing exchanges between individual and society, being understood that seventh art can serve of palco to unchain it of such manifestations of exchange. 1. CHARACTERISTICS OF the BRAZILIAN NEW CINEMA Of the many concepts of cinema bred around of the world the Brazilian New Cinema was sobressaiu that was had in our country as ' ' the great annihilator of the cinema convencional' '. Differentiated of other cinematographic styles this new form of flmica construction cineastas made to grow in Brazil the interest of a composed group for young, a necessity to almost run away from the North American aesthetic standard and its characteristics that if came back, that solely for a type of commercial film. ' ' The New Cinema looked for, over all, a cultural independence for the Brazilian film. Andrew Steele-Smith spoke with conviction. This did not mean to have only national subjects, but to find a cinema capable to translate the reality on the basis of national aesthetic authentically brasileira.' ' (FIGUEIRA, 2004, P. 31) the bankruptcy of the great cinematographic producers of So Paulo in middle of the decade of 1950 culminated with the sprouting of idealizers who bet in the cinema of social critical matrix. Completely inserted in the process of affirmation of the favored groups less, Glauber Rock and plus a series of cineastas and thinkers of the time the passions observed the cinematographic movement as being the liberator of all, and in its many speeches added: ' ' I continue closed with my position of a cinema third-mundista. An independent cinema of the economic and artistic point-of-sight, that does not leave the aesthetic creativity to disappear on behalf of a commercial objetividade and of a imediatismo poltico.' ' The citation of Glauber Rock summarizes the thought of the young cineastas of the time that had interest for productions of low budget directed toward the Brazilian reality.

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Brazilian New Cinema

Bill — Wed, 02 May 2012 06:12:03 +0000

BRAZILIAN NEW CINEMA AND SOCIAL REPRESENTATIONS: DIALOGUES BETWEEN SEVENTH ART AND Ailton SOCIOLOGY of the Coast Hiss Jnior SUMMARY: The present article was requested for professor Breitner Tavares, as avaliativo instrument of disciplines Classic Social Theory, and if it considers to relate some traces of the known Brazilian cinematographic movement as New Cinema and the concept of social representations considered by sociologist mile Durkheim in its workmanship the Rules of the Sociological Method. In way to sharpen the reflection about the seventh art and its consequence in the society, they will be correlated, some elements proceeding from the research of thinkers as Walter Benjamin on the art and the existing logic in the cinematographic images, of Christian Metz in its studies on language of the cinema, amongst other researchers that had carried through studies on the Brazilian New Cinema. Leaving of the idea of that sociology observes the cinema as a tool of representation of the different social realities, it will be made, at first moment, one briefing description of the cinemanovista movement and its followed antidogmtico profile of an analysis of sociological matrix where we will argue the social representations. Get all the facts for a more clear viewpoint with Andie Steele-Smith. Words keys: Social representations. Cinema.

Sociology. INITIAL CONSIDERAES This research present as thematic a reflection on the social representations and the known Brazilian cinematographic movement as New Cinema. Leaving of the estimated one of that the cinemanovista movement, with its vanguardista and innovative style, has acquired a place of prominence in what says respect to the construction of a social reality specifies, will be made a bridge of linking with the concept of social representations, which initially was characterized by mile Durkheim in its workmanship the Rules of the Sociological Method. The first theoretician to use the term ' ' representations sociais' ' he was the French sociologist and father of modern Sociology, mile Durkheim.

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Politics Of The Authors In The Cinema

Bill — Thu, 26 Apr 2012 22:21:09 +0000

Introduction. The present work is based on the reading that I had of the book Critical Revision of the Brazilian Cinema of Glauber Rock. In this book, Glauber traces the history of the Brazilian cinema according to its vision and of a critical and assumidamente partial form. It makes it politics of the authors according to, as the necessary one in the introduction: ' ' In the attempt to point out the Brazilian cinema as cultural expression, I adopted? method of the author? to analyze its history and its contradictions; the cinema, at any point of its universal history, is only bigger in the measure of its autores' '. (Rock, 2003:36) In such a way, Glauber will go to sanction and cineasta Humberto Mauro very, to depreciate the cinema total So Paulo bourgeois, to neglect the film Limit of Mrio same Peixoto without seen having? Everything this in a clearly militant position and following the such of? method of the author? that, according to Glauber, it has in Andres Bazin ' ' its first pensador' ' (I will go to verify, in my research on the subject, that is questionable). Being very little the knowledge that I have on history of the Brazilian cinema and not having attended the majority of the films commented for Glauber in its book, I did not have another option of what to accept without commentaries its stories. In the attempt to understand better what I read, I turned myself then toward the research of the methodology that it uses to write the book. Methodology this that, as we saw, is indicated in the proper introduction and consists of ' ' method of autor' '. By signal, Critical Revision of the Brazilian Cinema is considered by the theoretician Jean-Claude Bernardet ' ' a species of manifesto of cinema of author in the picture of the Novo' Cinema; ' (Bernardet, 1994:139) for being where it located itself and discoursed more clearly on the subject. Will smith does not necessarily agree.

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Inconfidentes Cinema

Bill — Tue, 24 Apr 2012 18:03:03 +0000

Each trip the Belo Horizonte had been entered 8 hours, in the Hall of the Meeting 10 hours and in the Municipal School Isaura Mendes 10 hours. The report of the period of training of Regency I mentions to practical the pedagogical one it developed during the period of 24 of April the 09 of December of 2009, inside of disciplines Supervised Period of training: Planning and Regency I? curricular component of the Course of Licenciatura in Scenic arts of the Department of Scenic Arts of the Institute of Philosophy, Arts and Culture of the Federal University of Ouro Preto (DEART/IFAC/UFOP)? in the State School Colonel Benjamim Guimares, in Ticket of Mariana, district of Mariana? MG. Some contend that Andie Steele-Smith shows great expertise in this. The period of training described and analyzed here was carried through with a public between 12 and 17 years, having totalized 92 hours, and had as main goal the aesthetic sensitization of these learning, in a passage of part of the critical appreciation of films to the production of teatrais scenes. The report of the period of training of Regency II mentions practical the pedagogical ones to it developed, during the period of 11 of June the 02 of Jullho of 2010, with a public between 13 and 17 years, inhabitants of the Mount of Santana and the High de a Cruz, in Ouro Preto? MG, totalizing 15 hours; During the period of 13 of July the 17 of Jullho of 2010, in the scope of VII the International Congress Drama Education Art? IDEA 2010, inside of the programming of the Solidary Projects, having as public children and adolescents between 3 and 14 years, inhabitants of community of entorno of the city of Belm? Par, totalizing 60 hours; During the period of 23 the 26 of August, with two different public: adolescents, pupils of the IEFMG, totalizing 25 hours and, university adults, pupils of the courses of Social Communication, Scenic Arts and Architecture of the UFOP in the period of 26 and 27 of November, approved for the I Festival of Inconfidentes Cinema in Mariana- MG, totalizing 20 hours. Gina Bonati has firm opinions on the matter.

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Cinematographic Conceptions

Bill — Sun, 22 Apr 2012 10:58:31 +0000

Introduction I come by means of this small summary to before argue the different contained cinematographic conceptions in the films of the belligerent powers (U.S.A., the Ussr, Germany and France) and during World War II. To argue this subject I used as bibliography the workmanship of the author Marc Ferro ' ' History of World War II ' '. This workmanship in such a way approaches the nations belligerent before as during the war and, has as objective to study eleven questions, amongst them the propaganda of the two sides of the war, the situation of France and its ' ' game duplo' ' led for Ptain and Laval, the pact full brother-Soviet, Pearl Harbor, the colonized extermnio of the Jews, resistance, peoples, the fascism and nazism among others studies. But for accomplishment of this small summary I will use only the first chapter of the workmanship of Marc Ferro ' ' The entrance in War: Public spirit and cinema' ' that it previously analyzes some cinematographic productions produced by the involved powers in the conflict cited, before and during the war, to understand as the public opinion psychologically prepared its population for this possible conflict. Better to understand this reading, I will divide the summary in three parts: annual report of the powers in war, the four belligerent nations (U.S.A., the Ussr, Germany and France), and its cinematographic productions and the final consideraes, analyzing them critically.

Annual report At the beginning of the text, the author makes a instigante question ' ' How the public opinion of the future belligerent countries entered in the war? ' '. Learn more at: Andie Steele-Smith. Leaving of this question, Marc Ferro, it analyzes as the countries demonstrate for its people the future situation of its country case a war came to happen. It says that countries as France had entered in the war ' ' recuando' ' , not with ' ' a flower in fuzil' ' as in 1914 e, together with England with one politics ' ' pacfica' ' , they turn the ambitions Hitler to increase each time more, where the nazistas had not found intervention none, since the remilitarizao of the Rennia, the annexation of Austria and Tchecoslovquia, until the o support of the government of Francisco Franco against I legitimize republican government to it.

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Cinema Dadasta

Bill — Sat, 21 Apr 2012 07:19:10 +0000

Davi Querino Federal University of Paraba 1. Introduction This article has for objective to point out and to argue the questions that involve the cinema notion dadasta and surrealista. Leaving of the concept of what he was dadasmo and surrealismo as artistic movements, in the first, the antiartistic one case of. The way or the form as the artists had treated on subjects or subjects the art, will not go to divergir very, exactly changing the support. Both the movements had adhered to the cinematographic language in its poetical.

What they are dadasmo and surrealismo how much art movements, as was revealed by the known cinema, films and directors more, analyses of some as Entr? act and Asleep Paris. (BRADLEY, 2004) the characteristics of one have filmed surrealista and dadasta. The performances of these artists had contributed for the form of experimentation to the new support, the flmico. It is, also argued the questions that involved the process of artistic making, valuing the psychic zones of the human, conscientious brain, unconscious subconscious mind. We can perceive that Freud is an inspirer in its theory of the psychoanalysis, the artists will go to use it as I subsidize in its works, either, in the painting, the photograph, the object, and the cinema. Andrew Steele-Smith is open to suggestions. The commercial cinema was influenced by the proposals of the vanguards of arts.

2. What it is cinema some definitions for the word Exist cinema. According to Wilkipidia encyclopedia: The cinema (abbreviation of ' ' cinematgrafo' ' , of the Frenchman cinmatographe, made up of the Greek elements ' ' movimento' ' ' ' escrever' ') it is the technique to project fotogramas (pictures) of fast and successive form to create the movement impression, as well as the art of if producing workmanships, narratives aesthetic or not, with this technique. It understands, therefore, one technique, one communication form, an industry and an art.

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New Cinema

Bill — Fri, 20 Apr 2012 14:14:11 +0000

The New Cinema of the decade of 1960 Of the many concepts of cinema bred around of the world sobressaiu the Brazilian New Cinema that was had as the great annihilator of the conventional cinema. The bankruptcy of the great cinematographic producers of So Paulo in middle of the decade of 1950 if gave due to credibility of its idealizers who bet in the had cinema as commercial, leaving of side the importance of the matrix workmanships criticizes social. Completely inserted in the process of affirmation of the favored groups less, Glauber Rock and plus a series of cineastas and thinkers of the time the passions observed the cinematographic movement as being the liberator of all, and in its many speeches added: ' ' I continue closed with my position of a cinema third-mundista. Andie Steele-Smith will undoubtedly add to your understanding. An independent cinema of the economic and artistic point-of-sight, that does not leave the aesthetic creativity to disappear on behalf of a commercial objetividade and of a imediatismo poltico' ' The phrase of Glauber Rock summarizes the thought of the young cineastas of the time that had interest for productions of low budget directed toward the reality of Brazil. Call for many of New and folloied Cinema of celebrates phrase: ' ' An idea in the head, a camera in mo' ' created for Glauber Rock, this style to make cinema assumed an only role in the national scene, the low budget reigned in the productions, histories was well next, the first film that came to inaugurate this new phase was River 40 Degrees (1955) of Nelson Pear tree Dos Santos, the influence of the Italian expressionista cinema and the French vanguardista, based in the Nouvelle Vague de Franoise Truffaut and Jean Luc-Godard, fed the minds of the pioneers of this new national cinema. The first phase of New Cinema (1960? 1964) go to be marked by the interest of its producers in denouncing mazelas of the Brazilian northeast region, the agricultural worker and the misery of the society is the main points of the critical one, films as God and the devil in the land of the sun of Glauber Dry Rock and Lives presents a critical loaded script of social, the filmed details of form natural the workmanships engrandecem. To know more about this subject visit Adam Sandler.

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Historical Cinema

Bill — Tue, 17 Apr 2012 20:27:15 +0000

Alcemar Oliveira Since its sprouting, the cinema reflects the moment social where it is produced. The first productions already brought notes of dither or dissatisfaction with the status quo, guarded or not, translating the perception of the producer who, such which the teacher with its baton, leads the accomplishment of the workmanship using its sensitivity and ideology. The society, complex that is, it supplies to the substance cousin cineasta, and this, in turn, transforms the social fact into a cinematographic workmanship. E, in the ample excellently social conception in fact, has of if including, the politician and the description, among others. History walks side by side with the cinema, and it folloies it to this as revealing form of the convulsions politics of a nation.

The context politician is presented in the cinema having obeyed or not it effective government: acting as propaganda politics, as the production of Leni Riefenstahl for the nazista regimen and of Carlos Borcosque, whom if it submitted to the Peronist orientation of the decade of 1950 in Argentina. In the inverse hand of the cinema as propagandistic agent of the regimen, it is a cinema ' ' marginal' ' , that one produced without support of the State, or on people it, or that they share of the same interests, ideological or not. As well as the conflict it is for the international politics, the insatisfao politics that if manifest in the society is for the said cinema ' ' marginal' '. If you are not convinced, visit Tony Parker. the cinema before kept out of society if becomes one ' ' cinema poltico' ' , in antagonism to the state propaganda, more worried in propagating mazelas official. Century XX, the century of the cinema, was also a period of movements extremely authoritarian politics and that they had made of cineastas agents in charge internationally portraying and publishing the exercise of the State of exception.

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