scholarly journals Cine para la Educación. Aprender de seis décadas de buenas experiencias educomunicativas

2021 ◽  
Vol 12 (1) ◽  
pp. 93-100
Author(s):  
José M. Merchán ◽  
M. Cruz Alvarado ◽  
Susana De Andrés ◽  
Agustín García-Matilla

The Lumiere brothers, inventors of the cinematograph, did not think that it could be more interesting than a mere fairground attraction. However, at the beginning of the 20th century, the cinema was considered a medium of immense educational potential and it has been analyzed from multiple perspectives for its cultural value. Not only was George Meliés the first director to believe in the potential of cinema, simultaneously with the director Alice Guy, fictional cinema also began. Directors and theorists such as Griffith or Eisenstein, Riccioto Canudo, Henry Agel, Guido Aristarco, or André Bazin demonstrated the importance of the language of cinema from a practical perspective. The main objective here is to collect some of the most significant experiences in film pedagogy in the Spanish context, and discover with them the meaning and the sense of delving into this field and its importance in the real context of the screens that nourish the digital environment multimedia and transmedia. From the first film clubs, university experiences, pedagogical associations/groups, and the creation of educational centers, to audiovisual literacy actions for groups at risk of exclusion. As an example of the educational potential of cinema in isolation contexts, we will outline a recent case of its application in penitentiary institutions.

2007 ◽  
Author(s):  
Ronald Crouch ◽  
Luciano Berardi ◽  
Terrinieka Williams ◽  
Sangeeta Parikshak ◽  
Susan McMahon ◽  
...  

Author(s):  
Daniel Alex Richter

Cinema began in Uruguay with the exhibition of foreign films by visiting representatives of the Lumière brothers in 1896 before the first Uruguayan film was produced and shown in 1898. From the early period of Uruguayan cinema to the end of the 20th century, Uruguayan national cinema struggled to exist in the estimation of critical observers. Considering these periods of growth and stagnation, this history of Uruguayan cinema seeks to shed light on the industry’s evolution by focusing on exhibition, production, and spectatorship. This essay explores Uruguay’s national film productions, transnational businesses in shaping local film exhibition, the growth of mass publics and critical spectatorship, and the significance of political filmmaking in understanding the evolution of Latin American cinema during the 1960s. The history of Uruguayan cinema during the 20th century also provides a lens for understanding the political, social, and cultural histories of a country that has struggled to live up to its reputation as South America’s “most democratic” nation.


Author(s):  
Zuzanna Ladyga

The chapter focuses on modernist fascination with vitality and movement to show how this “vitalocentric” tendency is matched by a cultural countercurrent of the aesthetics of cessation. The chapter uses Raymond Williams’s concept of emergent cultural value, the chapter examines modernist art and literary manifestos and essays, their deep-seated distrust towards all signs of what Filippo Marinetti called lethargy, a distrust coupled with a special privileging of vitality-as-animation. As far as the classical interpretations of modernism go, it was this valorization of vibrant vitality over lethargic inactivity that provided necessary fuel for the modernist rebellious claims to uniqueness. The chapter challenges the vitalocentric interpretation of modernism and focuses on previously unacknowledged counter-vitalist impulses within the modernist project. Such impulses can be traced in Gertrude Stein’s philosophy of art, generally considered as one of the pillars of early 20th century vitalocentrism. While apparently consistent with vitalist sensibility, Stein’s ideas -- when read through the lens of Marcel Duchamp’s concept of inaction externe and Giorgio Agamben’s notions of impotency and inoperativity-- go beyond the modernist sensibility and capture in an embryonic form the structures of feeling traditionally associated with modernism’s successor, postmodernism.


2019 ◽  
Vol 8 (2) ◽  
pp. 359-379
Author(s):  
Marnie Campagnaro

This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.


2017 ◽  
Vol 13 (1) ◽  
pp. 73
Author(s):  
Andi Muhammad Akhmar ◽  
Burhanuddin Arafah ◽  
Wahyuddin Pardiman

The Pagatan Buginese is a community which living in Pagatan area, Tanah Bambu regency, South Borneo which is culturally identified as Buginese. Even though they are known that their ancestors came from various parts of Sulawesi, the people of this community still identified themselves as separate entity, The Pagatan Buginese. This study use historical, sociolinguistic, and cultural perspective, has revealed that the presences of Buginese in Pagatan occur in several periods. The first period, the Buginese migration to Pagatan in the 18th Century, is the pioneer and founder of Pagatan Kingdom migration. The second period, in the early half of 20th Century, is a large-scale migration caused by Bone War in 1908. The third period, in the second half of 20th Century, is migration when DI/TII Kahar Muzakkar rebellion occurred. Furthermore, in the end of 20th Century, Buginese fisherman communities, who are initially only fishing in Pagatan, gradually bring their family and settle there which is known as pappagatang. The Buginese domination in socio-cultural, economy, and political sector is generated by their ability to adapt to other communities, especially Banjar as the native of Borneo. The Buginese have a number of excellences in agriculture, fishery, maritime, and trading sector, as well as the eminent ethos that rooted from cultural value sirri na pesse (dignity and compassion) and other living philosophy of Buginese.Orang Bugis Pagatan adalah sebuah komunitas yang tinggal di kawasan Pagatan, Kabupaten Tanah Bumbu, Provinsi Kalimantan Selatan, yang secara kultural diidentifikasi sebagai orang Bugis. Meskipun Orang Bugis Pagatan mengakui jika leluhurnya berasal dari sejumlah daerah Sulawesi Selatan, namun tetap mengidentifikasi diri sebagai sebuah entitas tersendiri, yaitu orang Bugis Pagatan. Penelitian yang menggunakan perspektif sejarah, sosiolinguistik, dan kajian budaya ini mengungkapkan bahwa keberadaan orang-orang Bugis di Pagatan berlangsung dalam beberapa periode. Periode pertama migrasi orang Bugis ke Pagatan pada abad ke-18, adalah kalangan perintis sekaligus pendiri kerajaan Pagatan. Periode kedua migrasi orang Bugis ke Pagatan berlangsung pada paruh awal abad abad ke-20, merupakan migrasi dalam skala besar yang diakibatkan oleh pecahnya perang Bone tahun 1908.  Periode ketiga migrasi orang Bugis ke Pagatan pada paruh kedua abad ke-20, yaitu saat berlangsungnya peristiwa pemberontakan DI/TII Kahar Muzakkar. Selain itu, pada akhir abad ke-20, terdapat pula kelompok-kelompok nelayan Bugis yang pada awalnya hanya mencari ikan di Pagatan, berangsur-angsur membawa keluarga mereka menetap di sana, yang dikenal dengan istilah pappagatang. Dominasi orang Bugis pada sektor sosial budaya, ekonomi, dan politik disebabkan oleh kemampuan mereka beradaptasi dengan komunitas lain, khususnya orang-orang Banjar sebagai penduduk asli Kalimantan. Orang Bugis memiliki sejumlah keunggulan dalam bidang pertanian, perikanan, kelautan, dan perdagangan, serta memiliki etos kerja yang tinggi yang bersumber dari nilai-nilai budaya siri na pesse (harga diri dan rasa iba) serta filosofi hidup orang Bugis lainnya. 


2014 ◽  
Vol 5 (2) ◽  
pp. 45-65
Author(s):  
Alex Büscher ◽  
Eric Frère ◽  
Gerrit Hellwig ◽  
Svend Reuse

Commodities are very important for the welfare of whole nations and so an increased demand, even on the financial markets, can be seen in the 20th century. For this reason commodities were no longer only product factors. They became more and more a speculative character for investors, especially in times of crisis as a possible safe haven (Mildner / Rudloff / Westphal, 2012, p. 57). Because of their development over two decades, during which time the invested volume grew up to an amount of 320 Billion US-Dollar at the beginning of 2011 (Knoepfel, 2011, p. 2) and the return of investing in commodities had beaten traditional investments, it might be very interesting to invest in commodity indices, if they can diversify an investor´s portfolio while improving the return. For the valuation and comparison of traditional and commodity indices, this article uses the classical approach of the volatility and the Value at Risk (VaR) for risk measurement and logarithmic returns for the performances. The analysis is indexed on July 1998 to get comparable results and aims to test if commodities can diversify a portfolio any longer.


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