| dc.creator |
Michel Clarembeaux |
|
| dc.date |
2010-10-01T00:00:00Z |
|
| dc.date.accessioned |
2015-07-20T22:14:48Z |
|
| dc.date.available |
2015-07-20T22:14:48Z |
|
| dc.identifier |
10.3916/C35-2010-02-02 |
|
| dc.identifier |
1134-3478 |
|
| dc.identifier |
1988-3293 |
|
| dc.identifier |
https://doaj.org/article/cf07507472204c298b225c836af2e64d |
|
| dc.identifier.uri |
http://evidence.thinkportal.org/handle/123456789/17137 |
|
| dc.description |
La educación para el cine en la era digital debería apoyarse en tres polos complementarios y estrechamente asociados: ver, analizar y hacer películas con jóvenes. Estos tres polos han de potenciarse mutuamente. El concepto de análisis creativo podría ser la argamasa que diera coherencia y eficiencia al dispositivo educativo. Si el cine es un arte, es sobre todo el arte de la memoria, tanto colectiva como individual. Este artículo sugiere que es posible hacer converger la pedagogía de la educación cinematográfica y la voluntad ciudadana de perpetuar la memoria, al tiempo que se protege el patrimonio cultural. El autor propone una serie de películas para ilustrar estos planteamientos, que ponen de relieve la dimensión económica y cultural de los medios de comunicación, respondiendo en esta convergencia a las más recientes directrices de la Unión Europea sobre creación y producción, desde esta perspectiva, de medios audiovisuales. El trabajo se inicia con una aproximación a la educación para el cine en la era digital. Posteriormente se recogen algunas singularidades de las «películas de la memoria», aludiendo concretamente a la tipología de los puntos de vista de los realizadores y al tratamiento de sus fuentes. Por último, se refleja el encuentro entre el concepto de «análisis creativo», fomentado por la educación cinematográfica, y la realización de videogramas hechos por jóvenes y dedicados a la memoria individual o colectiva.<br>Film education in the digital age should be based on three closely-related and complementary fundamentals: to see, to analyze and to make films with young people; three basics that must interact and support each other. The concept of creative analysis could be the glue the binds this subject together, making it coherent and efficient for educational purposes. If cinema is an art, it is above all the art of memory, both individual and collective. This article suggests that we can join the pedagogy of film education to the citizen’s desire to perpetuate memory and preserve cultural heritage. The author describes various types of films to prove this hypothesis, and at the same time indicates the economic and cultural dimension of the media. The essay starts with an approach to film education in the digital age. Later, it analyzes certain aspects of films of memory, referring specifically to the typology of standpoints of film-makers and the treatment of their sources. Lastly, there is a reflection on the convergence of the concept of creative analysis, promoted by film education, and the production of videos by young people dedicated to the individual or collective memory. This convergence matches European Union proposals concerning the production and creation of audiovisual media from this viewpoint. |
|
| dc.language |
Spanish |
|
| dc.language |
English |
|
| dc.publisher |
Grupo Comunicar Ediciones |
|
| dc.relation |
http://dx.doi.org/10.3916/C35-2010-02-02 |
|
| dc.relation |
https://doaj.org/toc/1134-3478 |
|
| dc.relation |
https://doaj.org/toc/1988-3293 |
|
| dc.rights |
CC BY-NC-SA |
|
| dc.source |
Comunicar, Vol XVIII, Iss 35, Pp 25-32 (2010) |
|
| dc.subject |
Educación en medios |
|
| dc.subject |
Cine |
|
| dc.subject |
Análisis de creación |
|
| dc.subject |
Producción de películas |
|
| dc.subject |
Memoria colectiva |
|
| dc.subject |
Patrimonio |
|
| dc.subject |
Media education |
|
| dc.subject |
Film education |
|
| dc.subject |
Creative analysis |
|
| dc.subject |
Film production |
|
| dc.subject |
Collective memory |
|
| dc.subject |
Heritage |
|
| dc.subject |
Communication. Mass media |
|
| dc.subject |
P87-96 |
|
| dc.subject |
Philology. Linguistics |
|
| dc.subject |
P1-1091 |
|
| dc.subject |
Language and Literature |
|
| dc.subject |
P |
|
| dc.subject |
DOAJ:Media and communication |
|
| dc.subject |
DOAJ:Social Sciences |
|
| dc.subject |
Education (General) |
|
| dc.subject |
L7-991 |
|
| dc.subject |
Education |
|
| dc.subject |
L |
|
| dc.subject |
DOAJ:Education |
|
| dc.subject |
DOAJ:Social Sciences |
|
| dc.subject |
Communication. Mass media |
|
| dc.subject |
P87-96 |
|
| dc.subject |
Philology. Linguistics |
|
| dc.subject |
P1-1091 |
|
| dc.subject |
Language and Literature |
|
| dc.subject |
P |
|
| dc.subject |
DOAJ:Media and communication |
|
| dc.subject |
DOAJ:Social Sciences |
|
| dc.subject |
Education (General) |
|
| dc.subject |
L7-991 |
|
| dc.subject |
Education |
|
| dc.subject |
L |
|
| dc.subject |
DOAJ:Education |
|
| dc.subject |
DOAJ:Social Sciences |
|
| dc.subject |
Communication. Mass media |
|
| dc.subject |
P87-96 |
|
| dc.subject |
Philology. Linguistics |
|
| dc.subject |
P1-1091 |
|
| dc.subject |
Language and Literature |
|
| dc.subject |
P |
|
| dc.subject |
Education (General) |
|
| dc.subject |
L7-991 |
|
| dc.subject |
Education |
|
| dc.subject |
L |
|
| dc.subject |
Communication. Mass media |
|
| dc.subject |
P87-96 |
|
| dc.subject |
Philology. Linguistics |
|
| dc.subject |
P1-1091 |
|
| dc.subject |
Language and Literature |
|
| dc.subject |
P |
|
| dc.subject |
Education (General) |
|
| dc.subject |
L7-991 |
|
| dc.subject |
Education |
|
| dc.subject |
L |
|
| dc.subject |
Communication. Mass media |
|
| dc.subject |
P87-96 |
|
| dc.subject |
Philology. Linguistics |
|
| dc.subject |
P1-1091 |
|
| dc.subject |
Language and Literature |
|
| dc.subject |
P |
|
| dc.subject |
Education (General) |
|
| dc.subject |
L7-991 |
|
| dc.subject |
Education |
|
| dc.subject |
L |
|
| dc.title |
Educación en cine: memoria y patrimonio Film Education: Memory and Heritage |
|
| dc.type |
article |
|