Subjetividade e estética do cinema: um olhar contemporâneo para ensinar Filosofia na escola

Abstract

The thesis develops its theme from the school formation of subjectivity in the context of modern culture, in a broad sense, heading towards the philosophical-aesthetic experience of cinema related to the class happening, in the strict sense. Thus, the object of the thesis is constituted in a hybrid form, forging a theoretical-practical research in its educational and cultural dimensions for the teaching of philosophy. The thesis study is divided into two general parts: the first about the concept of human formation; the second about the filmic analysis of school audiovisual productions. A critical reflection about a disarticulation between the paradigm of subjectivity bequeathed by modernity for the school and the contemporary experience of youth engenders the thesis of their philosophical-aesthetic formation, in front of the relevant crisis that affects educational processes around writing and image. A relation between subjectivity and cinema aesthetics, therefore postulates a cultural practice to teach philosophy at school. A transdisciplinary perspective pursues the epochal spirit in the paradoxical condition of youth, in order to identify the full human condition diffused in the present, from the first half of the 20th century to the present day. The research articulates principles of the philosophy of education in modernity, specifically related to Descartes, Rousseau, Kant and Schiller, with a focus about relation between ratio and sensitivity to the subjectivation of the subject. The investigation is centered on the category experience, articulating the contemporary and gesture, by Agamben, the ludic game and aesthetic beauty, by Schiller, and the technesthetic experience, by Couchot. The text is organized into four chapters: the first with the problematization of the crisis of the school; the second develops the discussion of this crisis in its implications for the teaching of philosophy; the third evoking the hypothesis of human formation beyond the extemporaneous of the school and youth; and for this, the fourth develops the analysis of the films The Human Pyramid (1961), by Jean Rouch, and Be realistic, demand the impossible (2018), by Isadora Malveira, about which the immanence to teach is identified philosophy for cinema. The combination of research and thesis investigation fosters the relation between subjectivity and cinema aesthetics for human formation, from which it establishes a propaedeutic for the teaching of philosophy. The thesis concludes that the cultural practice of teaching philosophy should be anti-hegemonic and eliminate the tyranny of reason. That one discontinuity will be overcome by the raising of the young under the invisibility of the archetype of the child, the poet and the savage. For this, cultural creation and the art of forming souls will consist in the formation of the subject of the contemporary eye, according to a close relationship between image, art and technique.