Das Beobachtungsparadigma. Geschichte und Nachleben des direct cinema

Resumen: Este artículo establece relaciones entre el cine y la educación, pensando la dimensión del primero como un aporte valioso para las pedagogías actuales. Desde las múltiples ramas de las artes, el campo del cine y su diversidad de género, ofrece elementos enriquecedores para alimentar las prácticas pedagógicas y de investigación. Es el caso del cinema directo, que desde su planteamiento documental y social, contribuye a una reflexión artística y pedagógica, tanto desde los temas que trata como de los modos técnicos que presentan estos contenidos. En efecto, el cine directo emerge en el corazón de las transformaciones sociales de los años 60-70 y converge con los diferentes cambios de la misma época: giro narrativo en la investigación y giro de la educación tradicional hacia pedagogías alternativas. Veremos en este escrito, a través del género del cine directo, los aportes del cine en el campo de la educación, la investigación, y en lo social. Para ello, a partir del análisis de extractos de la película National Gallery de Frederick Wiseman, estableceremos interconexiones con la educación artística y la formación docente, tomando en cuenta los contenidos y maneras de filmar. En este sentido, el cine nos aporta un modo particular de mirar y analizar las transformaciones pedagógicas y el conocimiento emergente en nuestra época. Palabras clave: formación docente, investigación-creación, interacciones interdisciplinares. Abstract: This article establishes relations between cinema and education, considering the dimension of the first as a valuable contribution to current pedagogies. From the multiple branches of the arts, the field of cinema and its diversity of genre, offers enriching elements to feed pedagogical and research practices. This is the case of direct cinema, which from its documentary and social approach, contributes to an artistic and pedagogical reflection, both from the topics it deals with and from the technical modes that present these contents. Indeed, direct cinema emerges at the heart of the social transformations of the 60s and 70s and converges with the different changes of the same era: narrative turn in research and the shift of traditional education towards alternative pedagogies. We will see in this writing, through the genre of direct cinema, the contributions of cinema in the field of education, research and socially. For this, from the analysis of extracts from the film National Gallery by Frederick Wiseman, we will establish interconnections with artistic education and teacher training, taking into account the contents and ways of filming to present them. In this sense, cinema gives us a particular way of looking at and analyzing pedagogical transformations and emerging knowledge in our time. Keywords: teacher training, research-creation, interdisciplinary interactions

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Stolen glances: heist cinema and the visual production of deception

10.32920/ryerson.14665821 ◽

2021 ◽

Author(s):

Nathan Holmes

Keyword(s):

Film Studies ◽

Motion Pictures ◽

Direct Path ◽

Important Place ◽

Objective Truth ◽

Direct Cinema ◽

Technical Production ◽

Imminent Threat ◽

Everyday Reality ◽

Civic Mindedness

The capacity to deceive figures into cinema's history in a number of interesting ways. For Melies, motion pictures allowed the technical production of deception and illusion for his "trick" films, and in popular mythology, frightened spectators fled an exhibition of Auguste and Louis Lumiere's L'Arrivee d'un train en gare de la Ciotat (1895) fearing the imminent arrival of the train at the theatre itself. While this latter story has been roundly discredited, it holds an important place in cinematic lore. In the various efforts of documentary filmmakers to negate the idea of objective truth, whether through direct cinema/cinema verite, the use of reflexive gestures, or subjective positioning, there is a sense of an imminent threat of deception in film's mediation of truth. As Tom Gunning (2004) and Rachel O. Moore (2000) have recently argued, even critical explorations of cinema, quite as much as filmmaking practices themselves, have held the medium in deep suspicion. In the screen theories derived from Lacan and Althusser that dominated 1970s film studies we see film scholars move towards a conception of film that sees deception and trickery - otherwise called "ideological mystification" - as an innate feature of the cinematic apparatus. Despite, or perhaps because of, these ongoing concerns, there seems to be a civic-mindedness among critics, theoreticians, filmmakers, and film-watchers alike which holds that film should be able to present at least some verifiable truths and that filmmaking should still be able to provide a reliable document. However, since film is always a mediation of something else, the direct path to these truths - as the debates about documentary filmmaking and realism have shown - will always be complex, and, indeed, contingent upon the culture in which they find purchase. What is at stake then, is not so much what is real and what is not, but the conditions under which verisimilitude - the experience of reality - can be taken to occur and be produced. This paper is about some of the pleasures to be found in watching a cinematic depiction of theft. Theft is something we do not ordinarily see. In cinematic depictions of theft we are shown something that occurs underneath the surface of our everyday reality. Just as much as cinema is deceptive, therefore, so too can it penetrate and explore deceptive phenomena.

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