Accionando imaginarios producidos por el cine: La potencia educativa de las imágenes para la formación docente
This text explores the interlocution between filmic images, representation and teacher imaginary presented by Hollywood cinema from the educational perspective of visual culture. From experiences developed in different contexts of initial and permanent teacher training in Brazil, to develop pedagogi...
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| Formato: | Online |
| Lenguaje: | spa |
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Centro de Investigaciones Interdisciplinarias de Filosofía en la Escuela (CIIFE)
2020
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/saberesypracticas/article/view/3907 |
| Sumario: | This text explores the interlocution between filmic images, representation and teacher imaginary presented by Hollywood cinema from the educational perspective of visual culture. From experiences developed in different contexts of initial and permanent teacher training in Brazil, to develop pedagogical didactic strategies for the teacher training where films are powerful pedagogical devices. Teaching examined and articulated from the educational perspective of visual culture (Fernando Hernández, 2007, 2014) favors questioning the stereotypes to defining behaviors, outlining hierarchical positions and legitimizing social roles. Above all, the look produced by the dominant cinematography in our culture, which constitutes a strong reference for the construction and production of identities. The cinema understood as a cultural artifact subjected to the power of address from Elizabeth Ellsworth (2001, 2005), can become an object of challenge to stimulate critical and political thinking in teacher training. Instead, all films have their imagined audiences and are directed at "someone", in this case, films made with a very specific objective: to present us models of teaching that contemplate both imaginary collectives around the profession as it also aims to "inspire" future generations of teachers. Thinking about how these collective ways of seeing build ways of understanding the world prompts us to examine how the processes of subjectivation are configured from the relationships we establish between the image and the effects they produce on our own ways of being and acting. |
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