Literature Review on Cinema and Education (original) (raw)
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LITERATURE REVIEW ON CINEMA AND EDUCATION (Atena Editora)
LITERATURE REVIEW ON CINEMA AND EDUCATION (Atena Editora), 2023
This research is part of the line of studies ``Languages, Art and Education ``, of the Graduate Program in Education at the ``Universidade Regional de Blumenau``, through the Communication and Media Education research group (FURB/CNPq). The research is classified as documentary and descriptive, has a qualitative approach and uses the film analysis technique with adaptation for a didactic sequence. An analysis of the original tale of the ``Branca de Neve`` of the brothers Grimm and the identification of the public for which the didactic sequence is intended. The results achieved were the systematization of a didactic sequence in order to reflect on the use of media, cinema and literature, in the classroom.
Razón y Palabra, 2022
Through interdisciplinary research involving education and cinema, the article aims to analyze the narrative of the film Central Station (1998), directed by Walter Salles, and identify elements for teaching three-act narratives in a script. The research is classified as descriptive and documentary, with a qualitative approach, and uses the film analysis technique. The main result was the realization that the practice of teaching scripts, from the cinema itself, is an essential issue to encourage discussions, deepen studies and instigate creative ideas. It is also found that Central Station is not a film that only allows the teaching of three-act narrative, but also promotes discussions in the most different spheres, whether to issues related to the Brazilian social scene, senior people, and their relationship with work, culture, and national folklore.
A Pedagogy of Cinema is the first book to apply Deleuze's concept of cinema to the pedagogic context. Cinema is opened up by this action from the straightforward educative analysis of film, to the systematic unfolding of image. A Pedagogy of Cinema explores what it means to engender cinema-thinking from image. This book does not overlay images from films with an educational approach to them, but looks to the images themselves to produce philosophy. This approach to utilising image in education is wholly new, and has the potential to transform classroom practice with respect to teaching and learning about cinema. The authors have carefully chosen specific examples of images to illustrate such transformational processes, and have fitted them into in depth analysis that is derived from the images. The result is a combination of image and text that advances the field of cinema study for and in education with a philosophical intent. " This outstanding new book asks a vital question for our time. How can we educate effectively in a digitalized, corporatized, Orwellian-surveillance-controlled, globalized world? This question is equally a challenge asked of our ability to think outside of the limiting parameters of the control society, and the forces which daily propel us ever-quicker towards worldwide homogenization. With great lucidity, Cole and Bradley offer us profound hope in Gilles Deleuze's increasingly popular notion of 'cine-thinking'. They explore and explain the potential that this sophisticated idea holds for learning, in an easy going and accessible way, and with a range of fantastic films: from 'Suspiria' and 'Performance' through to 'Under the Skin' and 'Snowpiercer'. This extremely engaging and compelling text is likely to enliven scholars and students everywhere. " – David Martin-Jones, Film and Television Studies, University of Glasgow, UK
Editorial: Welcome to the Film Education Journal
Film education journal, 2018
Film is a distinct medium with a distinct history and, as such, requires a distinct pedagogy. Given the growing conversations about film education internationally, in parallel with increasingly transnational screen cultures and the corresponding evolutions in film education practice, it is high time for a publication that specifically concerns itself with distinct pedagogical approaches to film. Considering the still-peripheral status of film in diverse curricula worldwide, it is also imperative that film educators find ways of speaking to each other, and pursue opportunities to make connections, collaborations and alliances with the work of film educators elsewhere in the world. It is important to illuminate that which is obscured, to make connections and comparisons between disparate, divergent practices, and to strengthen and elaborate pre-existing connections between localized instances in order to begin elucidating a global perspective upon film education so that the widespread marginality of film can be countered. This is what the Film Education Journal sets out to do. Considering now our inaugural issue, we remain struck by the sense of possibility inherent within the notion of a global film education journal; by the scale of possibilities that might be opened up by an ongoing, international forum for discussion about film education. As editors, we are conscious of being custodians of something valuable. This is particularly so when one considers the frequent lack of distinction between those writing and thinking about film education and those directly involved in film education. The Film Education Journal thus attempts to harness the stimulating possibility of not only commenting and contributing, but also actively participating in and shaping the international conversation about what film education was, is and could be, through a sense of activism. Despite the need for a distinct pedagogy, film education is interdisciplinary by nature and requires intersecting perspectives: a single field, yes, but one that requires the intersecting perspectives, experience and expertise of film-makers, classroom teachers, policymakers, youth and council workers, technicians, education officers in cultural institutions and-of course-students. A fertile discourse on film education must therefore be omnivorous, drawing from different languages, vocabularies, epistemologies and locations; from film culture, film practice, film theory, alongside educational practice and educational theory, and-crucially-from the specific experiences of practitioners and teachers on the ground. This sense of the interdisciplinary, and the productive tension between different registers and experiences of film education, is one we are firmly committed to exploring in the ongoing life of the journal, in attempting to create a platform that is as accessible to practitioners working in classrooms as it is to scholars working within the academy. While the primary intention of the Film Education Journal is to foster and further an international discourse upon diverse film education practices, this is not a conversation we claim to inaugurate, and we hereby acknowledge a debt of gratitude
Peer review This article has been peer-reviewed through the journal's standard double-anonymous peer review, where both the reviewers and authors are anonymised during review.
New Perspectives on Teaching Film Education. 2015.
Martin, S. & Eckert, L. (2015). New Perspectives on Teaching Film Education, In : Conference Proceedings. The Future of Education, Hrsg. Pixel, Liberia universitaria edizioni, Padua (Italien)., 2015
2015 New Persepectives on Teaching Film Education | mit Lena Eckert | Conference Proceedings. The Future of Education | Libreria universitaria edizioni | Padua Our contribution investigates the question of how to teach film to students, teachers, educators, and others. More specifically: How can one enable people with different professional backgrounds and without prior training to educate children about film? To show children what is special about perceiving films, how films function, how they are made, and how films change views about the world?
Teaching ‘cinema’: for how much longer?
New Review of Film and Television Studies, 2014
This paper focuses on the changes in the titles of university programs about cinema to argue that the approach adopted by the film teaching community is quite different from the one that prevailed until quite recently. The terms cinema and movies often disappear in favour of an 'extended' definition: 'Moving image' becomes the new creed of universities. Other institutions such as cinémathèques or scholarly associations are too in the midst of a cinematic identity crisis. The paper then analyzes the context of this transformation, the advent of digital, and examines the turmoil it causes.
Light ! Camera! Education: The Use of Cinema to Enhance Education and Learning
Today we live an unprecedented audio visual culture, where images exert the role of mediator between subject and culture. Most of young people form their intelligibility of the world from images. Actually nowadays, children and adolescents deal much easier with imagery language than with writing. Thus in the current context of technological innovations produced by the revolution of computerization and the spread of audiovisual media, digital and electronic teaching materials have gained new dimensions in its form, in its content and in its use. In this regard, Mitry stated (2000) " t is our belief that cinema is not just an art, a culture, but a means to knowledge, i.e., not just a technique for disseminating facts but one capable of opening thought onto new horizons. " The inclusion of media instruments in different levels of education during the second half of the 20th century, was a necessary measure and tailored to students' cultural characteristics of modern socie...