Educação do olhar: comunicação e expressão artística

• Autores: Ana Paula Nunes Stoll
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 881-887
• Idioma: varios idiomas
• Texto completo no disponible (Saber más ...)
• Resumen

  • There’s a certain consensus about the potential of an education of the view: the film analysis’s model of Bordwell,the cultural studies of Jesús Martín-Barbero, the semiotics of Eco, even the poetics of Aristotle. However, how canwe read movie images? The cinema has always been characterized by ambiguity, flexibility and transdisciplinarity,either because he was divided between being a means of social communication within the cultural industry, andbe an artistic expression; either because of the expansion of the field to cinema and audiovisual. The flexibility andhybridity, understood as virtues from many points of view, in this case can be harmful to the configuration of thefield within schools, where there’s still no satisfactory reading practice. Therefore, this article comes to understandthe similarities and differences in strategies of reading film/ audiovisual. This essay develops its arguments in twoapproaches: in one of them, by focusing the communication, within the example of the total language, presented byAntoine Vallet in 1960’s; in the other one, by focusing the aesthetic and artistic experience, has defended by AlainBergala, with his l’hypothèse cinéma. This is a reflection about the teaching of film/ audiovisual through the practiceof reading images, with a study strictly from the point of view of the field of cinema and audiovisual.