Banca de QUALIFICAÇÃO: YURI BARBOSA SANTOS

EDUCATION AND AUDIOVISUAL: CINEMA AS A SOCIAL PRACTICE

History; Movie theater; Audiovisual production; Citizenship; Identity.

Since the 19th century, with the birth of cinema, education and audiovisual are elements that go together in school and non-school environments over time and space. Currently, this junction occurs in the formation of children, young people, adults and elderly people through their social representations that can and should be reflected and activated in a common praxis through smartphones and social networks. In this relational sense between education and audiovisual, I present the following main question: How does film production impact the relationship between student-filmmakers and their identity and citizenship as historical subjects? And, as secondary questions; How did the production of the films impact the student-filmmakers? What is its impact on creativity and cultural interest? at the movies? What is its impact on political, social, ethical and aesthetic consciousness? How does it impact your individual and collective identity perception in your community? What is its impact on the relationship with individual and collective memory in the school community? In your perception and day-to-day practices? of citizenship? Based on these guiding issues, this work aims to research the contexts of audiovisual production as a didactic resource and social practice through educational experiences as a Historian and Cultural Agent at the Centro de Ensino Fundamental 4 (Ceilândia-DF) and at Ocupação Mercado Sul Vive ( Taguatinga-DF). In these contexts, cinema as a significant and creative social practice of culture, politics, ethics, aesthetics, memory, identity and history is produced by students who are historical subjects, as well as by the community in which they belong. The research work also investigates how historical education through audiovisual production impacts the memory, culture and identity of these historical subjects and communities through a problematizing, empowering and emancipatory pedagogical practice. To this end, I analyze the films “A Revolta dos Estudantes”(CEF 4, 2019) and “O Monstro do Mercado Sul”(Mercado Sul, 2020) in their production contexts, followed by questionnaires with the student-filmmakers who will be questioned and analyzed to prove, or not, that every subject with social practices is a producer of memory, culture, identity, citizenship and History itself as creative agents of time and space.