Cinema, escola e infância: da poética do cotidiano infantil à potência do gesto criativo

Abstract

The dissertation Cinema, School, and Childhood: from the Poetics of Everyday Childhood to the Power of the Creative Gesture addresses as its central theme the poetics of Cinema as a formative force in shaping children’s aesthetic taste, aligned with the perspective known as the Teaching Movement. This perspective is understood as both pedagogical and aesthetic, since it conceives teaching and learning as a collaborative, inventive, and creative process, not restricted to didactic tools or utilitarian practices. Inspired by the notion of the emancipation of intelligence, grounded in the studies of Jacques Rancière, the Teaching Movement is based on the principle that teachers and students equally share the capacity to teach and to learn, shifting the focus from the transmission of content to the aesthetic experience, artistic appreciation, and the Cultivation of taste. Within this framework, the methodology adopted took on a primarily empirical character, rooted in participatory research. For data collection, third-year elementary students at Escola Municipal Cidade Satélite São Luiz, in Aparecida de Goiânia, Goiás, were offered the opportunity to engage with the poetics of cinema through workshops and film screenings within the school environment. As a qualitative approach, the research was not limited to the collection and analysis of data from the participants involved—children, school administrators, and teachers—conducted through field diaries, semistructured interviews, and questionnaires. It was also articulated with bibliographic research, in light of theoretical frameworks such as Jacques Rancière, Alain Bergala, Adriana Fresquet, David Le Breton, Giorgio Agamben, Mikel Dufrenne, and Merleau-Ponty. The findings indicated that cinema enables meaningful aesthetic experiences in the school context, revealing childhood in its poetic dimension. However, curriculum guidelines such as the Base Nacional Comum Curricular (BNCC) and the Documento Curricular para Goiás – Ampliado (DC-GO – Ampliado) relegate cinema to a secondary role, thereby limiting its formative potential. Data obtained through the questionnaires administered to educators revealed that their personal relationship with cinema directly influences their educational practices. Most of the participants regard cinema as an occasional didactic resource, without recognizing the need for systematic planning for its implementation. It is therefore concluded that the effective integration of cinema into schools requires public policies that acknowledge it as an essential curricular component, as well as the provision of continuous professional development in different artistic languages. The study highlights that children’s engagement with cinema fostered the development of aesthetic taste, imagination, and the creative gesture, while also opening pathways to educational practices more receptive to artistic experimentation