Cinema de animação e trabalho docente

Abstract

This research discusses animation cinema and teaching work and its use in the classroom. It seeks to understand the dialectical processes of the teaching work with animation in terms of pedagogical, technical and creative dimensions and its contributions to promote the autonomy of the student and the teacher him/herself. The data production occurred with the collaboration of three teachers, two from the Vitória (ES) school system and one from the Domingos Martins (ES) school system. The selection of these collaborators was made with the previous mapping of teachers from Espírito Santo who would work with animation in 2018, carried out through a questionnaire. To answer the research objective, observation of the work of these teachers and teachers who acted as their partners in the development of animation projects with students, which had different duration, was carried out. Subsequently, interviews were carried out individually and also in the group, with the purpose of giving feedback about the aspects that stood out during the observation. The analyses are based on the conceptions of work and autonomy, with discussions based on Marx (2009, 2010) and Freire (2017a, 2018). The debate on the processes of creation and art is carried out in the interlocution with Vygotsky (1999, 2009a, 2009b) and Ostrower (1987), with special attention to the concepts of technique and creation. From this perspective, work is approached as a creative production capable of transforming the subject and its environment. The research allows us to affirm that the process of creating classroom animations brings teachers closer to students, students to school, school to community, as well as adults and children, expanding the visual repertoire and knowledge about animation, as it modifies spaces. At the same time, the work with animation also denounces the structural problems of the school, such as the countless assignments under the responsibility of teachers, the scarcity of materials, and, above all, how much the banking education referred to by Paulo Freire is rooted in the entire school community. This makes the teaching work with animation the target of suspicions and demands, reducing the language to mere entertainment so that the class time is occupied, ignoring, therefore, that animation is a mediator in the process of producing knowledge. In this context, the teachers assumed the limitations in which their work took place, conducting it in a way to provide more autonomy to the students and to themselves, enabling the production/reflection on technique and creation, breaking with traditional teaching approaches, experimenting new and teachinglearning processes. This culminated in animated creations that surprised the teachers and pedagogical team, promoting pride in the students at the exhibitions and, even if in a timid way, the approach of the family and other teaching colleagues to the work with animation. In this sense, we confirm the thesis that working with animation in the classroom is creative, allows collaborative work, breaks with traditional teaching approaches and makes both technique and creation possible. Understanding animation as creative work enables, for teachers and students, openness to decision making for an autonomous education. Thus, the entry of animation into the school, into the classrooms, repositions the roles of teachers and students and the relationships - among themselves; between them and the school professionals; between them and the family. The student goes from being a spectator to being the creator of the animation. It is another position, a learning that emerges from the technical and creative processes, enabling authorship and autonomy.