In the absence of a state film education plan in Spain, there are numerous initiatives operating in the field of both formal and non-formal education, the aim of which is pedagogy through cinema and about cinema. The European Commission has established the identification of a pantheon of authors of which knowledge is compulsory (canonical competence) as one of the four necessary competencies of this film literacy. This article aims to identify this canon promoted by the entities operating outside the formal curriculum and within the different contexts of nonformal education with early, primary and secondary education students in Spain. For this purpose, 65 entities (N=65)educational centers, regional programs, museums, film libraries, film clubs, festivals, associations and foundations-have been catalogued and consulted for the first time in the different provinces of Spain. Among the results, 194 film titles and 142 names of directors used by those entities involved in image pedagogy in Spain have been collected. From a multicultural point of view, the analysis of the results points to the promotion of a biological approach to the history of universal cinema, in which national cinematography does not find a place. The primacy of North American and French productions is observed, as well as the absence of images with which to work on historical memory in Spain.
El pueblo maya yucateco ha sido conformado como una alteridad histórica dentro de la emergencia y consolidación del Estado nación mexicano. Abundantemente representado en el ámbito audiovisual desde posiciones discursivas colonialistas y miradas exógenas, sus realidades contemporáneas han quedado invisibilizadas en la gran pantalla como consecuencia de la denegación de la coetaneidad a los pueblos indígenas y campesinos de América Latina. Este trabajo propone, sin embargo, un acercamiento a las creaciones audiovisuales contemporáneas de los propios realizadores mayas que hacen aflorar epistemologías del sentir situadas en el propio territorio rural mediante lo que se ha denominado ecocine. En concreto, estudia el caso del realizador Robin Canul y el documental ¿Qué les pasó a las abejas? (2018), que sigue el proceso de defensa del territorio por parte de los apicultores de la península de Yucatán y su lucha contra la empresa Monsanto por la siembra de soya transgénica. Los métodos de investigación empleados en el trabajo han sido la revisión filmográfica, el análisis fílmico y la entrevista personal con sus creadores. Entre los resultados, se presta atención a cómo se codifica el discurso del buen vivir en la película, así como las estrategias descolonizadoras desde el punto de vista de la representación de la ruralidad. Como conclusión, se observa la importancia de la creación cinematográfica desde un conocimiento situado como parte de un movimiento político contemporáneo más amplio de defensa de la vida campesina en la península yucateca en el contexto del impulso de macroproyectos turísticos.
The movement of people across different countries has been a constant in the history of human civilization. This has been attested to by the so-called ‘mobility turn’ in the social sciences. One of the most important recent instances of such a movement has been the mass migration of diverse communities to the United States. This migratory transit has been portrayed in numerous ways in different media. Among these, documentary films have played a crucial role in their approach to these migrant flows. In both, traditional forms and new web platforms, we find multiple examples of non-fiction that focus on portraying these communities. This article focuses on one of these platforms: Immigrant Nation Media. By highlighting the resistance practices the platform offers, this analysis focuses on its collaborative and educational dimensions, as well as its dedication to migrant empowerment.
In the absence of a state film education plan in Spain, there are numerous initiatives operating in the field of both formal and non-formal education, the aim of which is pedagogy through cinema and about cinema. The European Commission has established the identification of a pantheon of authors of which knowledge is compulsory (canonical competence) as one of the four necessary competencies of this film literacy. This article aims to identify this canon promoted by the entities operating outside the formal curriculum and within the different contexts of non-formal education with early, primary and secondary education students in Spain. For this purpose, 65 entities (N=65) –educational centers, regional programs, museums, film libraries, film clubs, festivals, associations and foundations– have been catalogued and consulted for the first time in the different provinces of Spain. Among the results, 194 film titles and 142 names of directors used by those entities involved in image pedagogy in Spain have been collected. From a multicultural point of view, the analysis of the results points to the promotion of a biological approach to the history of universal cinema, in which national cinematography does not find a place. The primacy of North American and French productions is observed, as well as the absence of images with which to work on historical memory in Spain.
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