Cinematographic practices that promote their training and give new meaning. Since, by experiencing the experience, he can move away from indifference. In this process, he is not just a simple observer contemplating his object, which is cinema. That said, involved with the film that passes through him, as it is an experience, he forgets the rush to acquire just more information. Furthermore, filmic practices require the viewer to be open to enjoying them, considering this experience a “territory of passage”, according to Larrosa (2002, p. 24), that is, a space of movement and in movement. As a result, he is riddled with an abundance of images, sounds, dramaturgy and ceases to be the agent of action, to become the subject of passion. What he sees fills him with affection.
To this end, it is essential to transform the filmic experience into meditative aesthetic experiences, shared in the context of the school, however, they go beyond simple entertainment and result in knowledge beyond the product observed (film), as well as, the teacher does not enclose it in the respective contents of your discipline. Immersed in Phone Number List a culture that sees audiovisual production as an entertainment spectacle, most of us teachers use films only as a second-order teaching resource, that is, to “illustrate”, in a playful and attractive way, the knowledge we believe in. be contained in more reliable sources. There is certainly no problem with using films in our classes. The problem is that we ignore their value and importance for the artistic and cultural heritage of humanity (DUARTE, 2002, p. 87).
Of fundamental importance, articulating the story that takes place on the screen, with the facts of the present time, certainly, the narrative talks about human dramas, their desires, dreams and frustrations. That said, it becomes necessary to think of school as a possible space for cinematographic language, but as a device for student development. Because, by favoring the telling of stories, through visual experiments, which encourage aesthetic-literary taste, it is likely that, similarly, it will expand the education of the eye. In this process, it is necessary to consider teaching activity as an important mediator, for this, one must have some theoretical-methodological knowledge in order to debate the aesthetic and cultural dimensions of this media. 3.