O conto Pinóquio nas páginas e nas telas: uma leitura sobre educação e formação humana

Abstract

As its object of study, this research went through the children's tale The Adventures of Pinocchio, written by Carlo Collodi between 1881 and 1883, considered a classic literary work. The analysis of the text takes place in a comparison movement with the Pinocchio film production produced by Disney in 1940. The question that guides this study is: what kind of aesthetic experience does the film industry's appropriation of literary fairy tales provide? How does this experience contribute to the human formation of individuals? To conceptualize our analyses, we applied the studies of Theodor W. Adorno as a theoretical-methodological ground, using the conceptual categories of cultural industry, education/formation, and semiformation. In this research, we found support in the Critical Theory of Society (CST) concepts in dealing with social aspects. For the discussion about the development of the psyche and the importance of appropriating the artwork for human development, we sought collaterally the contributions of cultural-historical psychology (PHC). Our analysis takes place in a dialectical way from a dialectical-historical materialist perspective (theoretical basis assumed by Marx in his social analysis). The methodological path of analysis, based on the notions of historicaldialectical materialism, was as follows: 1) we presented the work Pinocchio in its most general elements, both the book and the film; 2) from the concerns raised by the object, we presented the theoretical concepts that supported our analysis; 3) advancing in the understanding of the object from the refinement made possible by the concepts, we carried out the analysis of the literary text in comparison with the film production; 4) after this movement we reached our conclusions. Our initial hypothesis was that Disney production removes crucial aspects of the literary work based on the marketing interests that involve the production of cultural goods in the cultural industry, compromising the process of aesthetic education and human formation. Such hypotheses were proven from our analyses.